Current Postings

The postings below are all still active, and organized by deadline. Once the deadline has passed, they will be moved to the IABA Posting Archive, on the CBR Website

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Telling (Jewish) Lives: Biographers’ Reports / (Jüdische) Leben erzählen: Biographische Werkstattberichte
All lectures in German

German version see below

Digital lecture series, winter term 2021/2022
Tuesdays, 6:15pm – 7:45pm (CEST/CET), online

Prior registration requested:events-js@uni-potsdam.de
Organized by Prof. Dr. Grażyna Jurewicz
University of Potsdam, Institute of Jewish and Religious Studies
Selma Stern Center for Jewish Studies Berlin-Brandenburg

On the topic
For some time now, there has been talk of a “biographical turn” in the historically working humanities. In Jewish Studies, too, the relevance of biographical research practice is continuously increasing. Based on this finding, the interdisciplinary lecture series held in German (Jüdische) Leben erzählen: Biographische Werkstattberichte [Telling (Jewish) Lives: Biographers’ Reports] offers insights into the historiographical and literary aspects of working on Jewish life stories.  
Jewish lives often embody subject positions whose biographical accessing and analysis pose considerable challenges to researchers. These are rooted in phenomena such as exile, diaspora, transculturality, multilingualism, and intersectionality, which seem to be inherent in Jewish history and which result in potentially discontinuous or fragmented worlds of experience. The consequence is an often markedly complex constellation of sources, which on the one hand complicate biographical investigations, but on the other hand can prove particularly revealing for the methodology of biography. In the context of retrospective reflection on the processes of their life history studies, the speakers describe such challenges and possible ways of dealing with them, using concrete examples. In doing so, they touch upon a number of general methodological questions and practical research problems of biographical writing, such as: the choice of protagonists of biographical narratives; the presence of biographers in their representations of other lives and their possible identification with their own “objects”; the handling of gaps in knowledge or the abundance of knowledge; literary aspects of biographical work as well as its ethical dimensions; the representability of the connections between the life to be biographed and the specific form of creativity that was practiced in this life. Along these and other case-specific aspects of life writing, the lecture series will discuss the conditions of the possibility of transforming traces of past lives as conveyed by various media into written narratives in order to gain methodological yields for biographical research practice within and outside Jewish Studies.

Program

01/18/2022 Claudia Willms (Frankfurt am Main): Historiography from below? Franz Oppenheimer and Biographical Research from a Cultural Anthropology Perspective
01/25/2022 Efrat Gal-Ed (Düsseldorf/Augsburg): Nobody’s language. Itzik Manger – a European Poet. On the Biographical Textual Process
02/01/2022 Jacques Picard (Basel/Zurich): The Clock That Is Still Ticking. On Subjects and Objects in Biographical Research
02/08/2022 Philipp Lenhard (Munich): The Pitfalls of the Archive: On the Biography of Friedrich Pollock
02/15/2022 Christina Pareigis (Hamburg): Shamanistic Voyages. Review of the Making of an Intellectual Biography of Susan Taubes
02/22/2022 Stephan Braese (Aachen): To Biographize Hildesheimer: Workshop – Expedition – Laboratory 
03/01/2022 Alfred Gall (Mainz): “I don’t belong anywhere, because I am from somewhere else”: Constellations of Biography and Science Fiction in Stanisław Lem’s Work
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German Version

Digitale Ringvorlesung, Wintersemester 2021/2022
(Jüdische) Leben erzählen: Biographische Werkstattberichte
dienstags, 18:15–19:45 Uhr (MESZ/MEZ), online

Anmeldung: events-js@uni-potsdam.de
Veranstaltet von Prof. Dr. Grażyna Jurewicz
Universität Potsdam, Institut für Jüdische Studien und Religionswissenschaft
Selma Stern Zentrum für Jüdische Studien Berlin-Brandenburg

Zum Thema
Seit geraumer Zeit ist in den historisch arbeitenden Geisteswissenschaften von einem „biographical turn“ die Rede. Auch in den Jüdischen Studien nimmt die Relevanz der biographischen Forschungspraxis kontinuierlich zu. Von diesem Befund ausgehend bietet die interdisziplinäre Ringvorlesung „(Jüdische) Leben erzählen: Biographische Werkstattberichte“ Einblicke in die historiographischen und literarischen Aspekte der Arbeit an jüdischen Lebensgeschichten.  
Jüdische Lebensläufe verkörpern häufig Subjektpositionen, deren biographische Erschließung Forscher:innen vor erhebliche Herausforderungen stellt. Diese gründen in Phänomenen wie Exil, Diaspora, Transkulturalität, Mehrsprachigkeit und Intersektionalität, die der jüdischen Geschichte scheinbar inhärent sind und aus denen potenziell diskontinuierliche bzw. fragmentierte Erfahrungswelten resultieren. Das Ergebnis sind oft ausgesprochen komplexe Quellenkonstellationen, die biographische Untersuchungen einerseits erschweren, sich aber andererseits für die Methodologie der Biographie als besonders aufschlussreich erweisen können. Im Rahmen retrospektiver Reflexion über die Entstehungsprozesse ihrer lebensgeschichtlichen Studien schildern die Referent:innen an konkreten Beispielen solche Herausforderungen und den möglichen Umgang mit ihnen. Dabei berühren sie eine Reihe allgemeiner methodologischer Fragen und forschungspraktischer Probleme biographischen Schreibens, etwa: die Wahl von Protagonist:innen biographischer Narrative; die Anwesenheit der Biograph:innen in ihren Darstellungen fremder Leben und ihre eventuelle Identifikation mit den eigenen „Objekten“; den Umgang mit Wissenslücken bzw. der Wissensfülle; literarische Aspekte biographischer Arbeit sowie deren ethische Dimensionen; die Darstellbarkeit der Zusammenhänge zwischen dem zu biographierenden Leben und der je spezifischen Form der Kreativität, die in diesem Leben wirksam wurde. Entlang dieser und weiterer fallspezifischer Aspekte lebensgeschichtlichen Schreibens werden in der Ringvorlesung die Bedingungen der Möglichkeit diskutiert, medial vermittelte Spuren vergangener Leben in schriftliche Erzählungen zu transformieren, um damit methodologische Erträge für die biographische Forschungspraxis inner- und außerhalb des Faches Jüdische Studien zu gewinnen.

Termine

18.01.2022 Claudia Willms (Frankfurt am Main): Geschichtsschreibung von unten? Franz Oppenheimer und die kulturanthropologische Biographieforschung
25.01.2022 Efrat Gal-Ed (Düsseldorf/Augsburg): Niemandssprache. Itzik Manger – ein europäischer Dichter. Zum biographischen Textverfahren
01.02.2022 Jacques Picard (Basel/Zürich): Die Uhr, die noch tickt. Von Subjekten und Objekten in der Biographieforschung
08.02.2022 Philipp Lenhard (München): Die Tücken des Archivs: Zur Biographie Friedrich Pollocks
15.02.2022 Christina Pareigis (Hamburg): Shamanistic Voyages. Rückblick auf die Entstehung einer intellektuellen Biographie über Susan Taubes
22.02.2022 Stephan Braese (Aachen): Hildesheimer „biographieren“: Werkstatt – Expedition – Labor 
01.03.2022 Alfred Gall (Mainz): „Ich gehöre nirgendwo hin, denn ich bin anderswoher“: Konstellationen von Biographie und Science-Fiction bei Stanisław Lem


Prof. Dr. Grażyna Jurewicz
Universität Potsdam
Institut für Jüdische Studien und Religionswissenschaft
Am Neuen Palais 10 | 14469 Potsdam | Raum 1.11.0.04
Telefon: +49 (0) 331 977-1284
E-Mail: grazyna.zuzanna.jurewicz@uni-potsdam.de

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CfP for Special Issue of Life Writing (Routledge)

‘The Translation Memoir’deadline for submissions:  January 14, 2022

The translation memoir can be defined as a reflexive writing practice on the personal and political intersection between writing and translation.Translation memoirs use writing to explore the practice of translation and continue translation’s creative and critical work in different forms. Recent years have seen a boom in the publications of translation memoirs and essays, with authors in the genre encompassing translators such as Kate Briggs (2017), Mireille Gansel (2012), Corinna Gepner (2019), Gregory Rabassa (2005) and Jennifer Croft (2019).  These have engaged creative-critical reflections on the affective, political and transcultural work of translating literary texts, questioning the literary conventions which separate reading and writing, writing and translation. The translation memoir has also participated in a wider postmodern philosophical shift in the rethinking of identity and autobiography [Karpinsky 2012], engaging a form of authorial self-retrieval from within the dominant identity discourses of authorship, nationality, gender and the self. By highlighting the fluidity of national and cultural identities [Jhumpa Lahiri 2016], translation memoirs investigate otherness from the perspective of translation, interrogating the limits of national and gender narratives through the practice of rewriting the text and the self in other languages. Outside of the translation memoir as defined above, explorations of the relationship between translation and autobiographical memory, translation and the archive can also be found in works such as Anne Carson’s Nox for example, or in the creative-critical practice of Clive Scott. These engage in a wider reflection on the relationship between translation and memory, translation and the survival of the text. Participants are invited to send proposals for articles which explore any aspect of the translation memoir as a creative and philosophical investigation of translation through life writing. As well as analysing the translation memoir as a form of self-authorization of the translator as writer, participants are invited to reflect more widely on the impact of the translation memoir on the fields of translation and translator studies, philosophy, history and life writing. Does the translation memoir invite us to expand the definitions of what we consider a translation?  What new forms of writing can emerge from rethinking the self in relation to translation? How does the translation memoir bring to the fore and narrate the cultural differences and power differentials with which the work of translation must often contend? What sets the translation memoir apart from other memoirs? What sets the translation memoir apart from translator autobiographies? What translation theories, what forms of literary criticism have paved the way for the boom in translation-memoir writing we are witnessing today?  

Please email your abstracts to Dr. Delphine Grass d.grass@lancaster.ac.uk and Dr. Lily Robert-Foley lily.robert-foley@univ-montp3.fr with ‘Translation Memoir Abstract’ as subject heading. Deadline for Abstracts: January 14th, 2022. Deadline for completed manuscripts: April 15th, 2022.

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Memories of War in Other Worlds: Approaches to War Literature and Memories from the Global South

Conference June 15-18, 2022 VirtualAmerican Comparative Literature Association

Deadline for Submissions: January 15, 2022
  contact email:  amitrajeetm@gmail.com

Memories of military conflicts from both combatants and non-combatants alike have been a key tool in analyzing the unique traumas and socio-cultural affects of modern warfare. Scholars such as Samuel Hynes and Paul Fussell have done seminal work in articulating theoretical approaches to understanding the memories of bearing witness to modern war. Yet, mainstream war literature largely recounts the white voices from the West. Building further on the works of scholars such as Santanu Das, David Omissi, Franziska Roy and others this seminar seeks to capture the voices of the Global South and their perceptions of modern wars, from the mass global conflicts of the World Wars, to other wars that have continued to be waged in the postcolonial world without being afforded a significant space in Western consciousness. In analyzing primary sources such as letters, memoirs, biographies and including the fictional representations of modern conflicts created by authors from the Global South this seminar seeks to include the authorial voices which have historically been denied a space in the mainstream memorializations of major conflicts. The scope of the seminar includes non-Western perspectives on global wars as well as their approaches to localized regional conflicts and how the experiences of combat and wartime rupture have shaped discourses of culture, literature and collective memory. This seminar seeks to ask what theoretical approaches can be conceptualized through postcolonial theory and other strategies of reading to approach conflict narratives not located in the Western metropole. Locating questions of race, colonial legacies, generational and cultural traumas of the non-Western world and decolonization within the understanding of war narratives would be a prime focus and in scope the discussions aim to incorporate non-white voices from conflicts across Latin America, Africa and Asia to attempt a more holistic and inclusive understanding of legacies of modern conflicts that continue to shape our world. What are the reformulations to received Western perspectives to postcolonial regional geopolitics that can be achieved by a comparative literary and analytical approach to texts recounting the violent ruptures and eruptions of these regions? How do we alter our approach to war literature by including the voices previously marginalized in canonical literary discourse?

For further information regarding the conference please visit the FAQ page for the American Comparative Literature Association: https://www.acla.org/annual-meeting-2022

To submit paper abstracts please access the submission form on the ACLA conference website: https://www.acla.org/node/add/paper

Please search for the relevant seminar titled ‘Memories of War in Other Worlds: Approaches to War Literature and Memories from the Global South’, from the drop-down menu at the end of the submission form to ensure that your abstract gets submitted to the right seminar.

(Note: Prospective presenters have to create a login account on the ACLA website prior to the submission of their paper abstract)

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Deadline for Submissions, Jan. 15, 2022

Placing Disability: Personal Stories of Embodied Geography

Edited by Susannah B. Mintz, Professor, Skidmore College, smintz@skidmore.edu and Gregory Fraser, Professor, University of West Georgia, gfraser@wga.edu

**Soliciting 350-word abstracts for original 10-15 page essays on the subject of disability and location, according to the geographical regions listed below. Complete description of the project follows. Please send questions about the project to both editors. Abstracts due Jan. 15, 2022.

We will be seeking completed auto-critical essays for a collection under review at Palgrave-Macmillan. Titled Placing Disability: Personal Stories of Embodied Geography, the collection will present original work that addresses the experience of disability in particular geographical locations. We are interested in essays that directly engage the question of what it is like to be disabled in a specific place, for a collection that will be organized according to geographical type. Placing Disability will expand on current work focused on disability and eco-criticism or disability and spatial theory by situating authors’ reflections on the meaning of embodiment in distinct physical places and by grounding (quite literally) the discourse of disability awareness and activism in personal experience. We imagine a collection that will be as useful in the creative writing workshop as in a Disability Studies seminar or a class on environmental literature, as appealing to general readers of memoir as to scholars of contemporary body theory or the Anthropocene.

The book will be organized in terms of topographies and vistas rather than being bound by the map. This will encourage dialogue between writers within certain kinds of landscapes (the beaches of Florida compared to Colombia, the cities of North America compared to South Asia) as well as between regions themselves (urban spaces compared to prairies or mountains). Some regions are quite unique—the Pacific Northwest, as one example—but most types of location have specific “instances.” Organized according to these conceptual places (listed below), the collection will stimulate writers’ and readers’ understanding not just of disability experience generally but also of the meaning of physical place and how identities are constructed, experienced, and represented in relation to geography.

The writers collected in Placing Disability will propose that disability identity cannot be divorced from location. The book will thus offer its readers what we call a series of geocripistemologies, as authors explore issues of movement, work and play, community and activism, cultural and artistic production, love and sex, access and social services, family, memory, and maturity—informed by the places they inhabit. Like Nancy Mairs, who throughout her collection Waist-High in the World asks readers to rethink the most mundane of life’s tasks no less than the most philosophical conundrums of existence from her position in a wheelchair, “the height of an erect adult’s waist,” or Eli Clare, who writes in Brilliant Imperfection that it is his “shaky balance” that grants him a certain “intimacy with the mountain[s]” of Vermont, Placing Disability’s authors will show us where disability happens as a fresh and exciting way of conceiving of what disability means to our collective grasp of the human condition.

Our collection adds the important element of location to an increasingly sophisticated cultural and critical conversation about disability. Essays in Placing Disability will resist the pressure to draw conclusions or declare priorities; our goal is not to determine that it is “better” to be disabled here rather than there, but instead to seek out a multitude of geo-embodied realities. We envision a collection of high literary and philosophical quality that will represent what is possible in terms of imagining regional disabilities in the fullest possible sense. We ask that writers straddle the creative/scholarly threshold—in the manner of Clare and Mairs—braiding theoretically inflected examinations of place with personal, perhaps lyrically told, tales.

About the Editors

Susannah B. Mintz is a professor of English at Skidmore College. She has published extensively as a writer of creative nonfiction, with essays in American Literary Review, The Writer’s Chronicle, Epiphany, Ninth Letter, Michigan Quarterly Review, and elsewhere. She was the winner of the 2014 South Loop National Essay Prize and a finalist for both the 2010 William Allen nonfiction prize and the Epiphany chapbook contest in 2015. Her work has received special mention from Best American Essays 2010 and the Pushcart Prize Anthology 2018. A short memoir titled “Match Dot Comedy” appeared as a Kindle Single in 2013. A specialist in disability studies and scholar of autobiography, she is also the author of four monographs, including Unruly Bodies: Life Writing by Women with Disabilities (2007), Hurt and Pain: Literature and the Suffering Body (2014), and The Disabled Detective: Sleuthing Disability in Contemporary Crime Fiction (2019), and co-editor of three volumes: a critical anthology on the essayist Nancy Mairs, the Long Eighteenth Century volume of Bloomsbury’s forthcoming Cultural History of Disability, and the two-volume Gale-Cengage reference work Disability Experiences. A memoir called Love Affair in the Garden of Milton: Poetry, Loss, and the Meaning of Unbelief is just out from LSU Press. www.susannahbmintz.com

Gregory Fraser is Professor of English at the University of West Georgia University, outside Atlanta. He is the author of four poetry collections: Strange Pietà (Texas Tech University Press, 2003), Answering the Ruins (2009), Designed for Flight (2014), and Little Armageddon (2021), all from Northwestern University Press. He is also the co-author of the workshop textbook Writing Poetry (Palgrave-Macmillan, 2008) and the critical writing textbook AnalyzeAnything (Bloomsbury, 2012). Fraser’s poetry, which often addresses themes of disability, illness, and place, has appeared in journals including The New Yorker, TheParis Review, TheSouthern Review, Ploughshares, and TheGettysburg Review. He is the recipient of numerous awards for his writing, including grants from the National Endowment for the Arts and the Guggenheim Foundation.

Conceptual regions:

Coastlines

The far North and the far South

The Desert

The Northwest

The Country

The Heartland

The City

The Burbs

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Deadline for Submissions January 17, 2022

The 2022 AFEA[1] Annual Conference : “Legitimacy, Authority, Canons”

31 May- 3 June 2022, Bordeaux Montaigne University (France)

deadline for submissions: January 17, 2022

POPULAR CULTURE WORKSHOP

Historical destinies as the foundation of legitimacy: the biographical genre in the United States pop cultures

            Between 2000 and 2021, out of the twenty-one winners of the Oscar for Best Actor, eleven were rewarded for playing the part of a historical figure. Seven of the movies they appeared in were clearly identified as biographical pictures. Over the same period, thirty-three out of the one hundred and fifty Oscar for Best Picture nominees – and four of the movies that were awarded the prized statuette – were biopics. Since 2017, the Netflix biographical series The Crown has been nominated four times for both the Golden Globe and the Emmy Award for Outstanding Drama Series, and it has brought home four of these awards.

            The biographical genre has place of pride in Hollywood and in US popular culture in general, understandably so: it brings together the pseudo-legitimacy of the period film and the widespread appetite for tales of remarkable destinies. Biographies can be found in films and series of course, and in traditional or graphic novels (too many to name), but also in music (Bob Dylan’s songs “Hurricane” and “Joey”, or Elton John’s “Candle in the Wind” for example), stage musicals (such as Evita, Beautiful: The Carole King Musical, or more recently, Hamilton), and even video games (Ryan Green’s That Dragon, Cancer, and Nina Freeman’s games Cibele, How Do You Do It and We Met in May, explore universal themes even though they are based on the lives of their programmers).

            Rewriting and romanticizing are cornerstones of the genre. They are a way for biographical fictions to turn historical facts into narratives that will be both accessible to the general public and bankable. It has the same popularizing tone as historical fiction, but because it focuses on a single character, it fosters the process of identification, and makes it possible for the audience to get emotionally involved in the story that it unfolds. This raises the question: who is pictured and, to some extent, mythologized, in biographical fiction? The major – or sometimes a bit obscure – historical figures that the genre sheds light on come from a variety of backgrounds (politicians, artists, scientists…), and are transformed into heroic figures through the narrative. Biographical fiction explores and (re)shapes past events in order to explain how and why these people became so well-known and/or important. And in doing so, they sometimes explore the dark side of American society, telling tales of serial killers for example (Jeffrey Dahmer, Ted Bundy, Aileen Wuornos…), or of other famous criminals – through increasingly popular (and numerous) “true crime” novels, television shows and podcasts, a genre that finds its more celebrated examples in Netflix series such as Narcos or Mindhunter. How can we make sense of a genre that thrives in the representation of both somber individuals who threaten the very fabric of society, and role-models who often feed into the myth of the American self-made-(wo)man? Conversely, why are there so few biopics that revolve around big scientific figures, and why are so many of these people represented as mad or lonely scientists?

            The issue of the lack of representation also comes to mind: are there any categories of people whose biographies are not fictionalized, or have only become an object of fiction recently? Are women, for instance, represented as often and in the same way as men (an issue tackled by Raphaëlle Moine in Vies héroïques : biopics masculins, biopics féminins)? What about other minorities? In the past few years, there has been a surge of representations of black women in Hollywood biopics with movies such as Hidden Figures, Nina or Harriet, which focus specifically on women who fought, in some way, against racist discriminations. Although they offer better representation to a part of the American society that is rarely pictured in leading roles, it would seem justified to wonder whether these movies are merely a way for Hollywood to push aside the criticisms of the #OscarsSoWhite movement, while limiting this representation to safe, widely recognized figures. This question could be broadened to the representation of African-American figures, indeed most of the biographical fictions about them focus on figures of athletes or musicians whom the general public already knows and loves. The limited representation of other minorities, such as Asian-Americans or LGBTQI+ people, could be similarly questioned.

            Finally, the strong link between literature and the moving picture is made particularly clear in biographical fiction: biographical narratives are often adapted from the page onto the screen, or focus on major literary figures, usually trying to shed light on the way in which their personal lives inspired their most famous works (an idea that Hilda Shachar worked on in Screening the Author: The Literary Biopic). Most such adaptations are biographical novels turned into biopics, but the source can also be a graphic novel or a comic (American Splendor, My Friend Dahmer). The literary roots of the genre could be a way for it to claim its own legitimacy, to base itself on foundations that seem solid and more worthy of respect than other media, and which could grant an appearance of “seriousness” to the narrative. But in that case, what is the canon that biographical fiction follows? How does the genre set aside historical truth in order to conform to the codes of the different media it appears in? Are some aspects of history systematically erased when the biographical narrative is being constructed, and why? Is the modification of facts as big a deal as Time Out film critic Dave Calhoun seemed to believe when he wrote that Bohemian Rhapsody was “an act of brazen myth-making. Facts and chronology are tossed aside in favor of a messianic storyline…”, thus highlighting the complex relationship between biographical fiction and its own codes?

            Papers can deal with, but are not limited to:

– The forms of biographical fictions, and the ways in which it adapts to the codes of various media.

– The idea of authoritative figures: are the heroes of biographical fiction already leading figures in their field, or does the genre create new objects of fame by enabling the audience to identify to them through popular fiction?

– The relationship between biographical fiction and historical facts, as a potential way for popular culture to claim its own legitimacy. The issue of time and the chronological reorganization, or even rewriting, of facts in order to turn biographies into myths.

– Conversely, the question of the evolution of biographical fiction through time, and the changes in its form, but also in the figures it chooses to focus on. Are there any “forgotten” biopics, which focus on figures now considered to be dangerous for the American society?

– The connection between the biography of an artist and artistic creation itself, a topic that seems particularly relevant in the case of jukebox musicals such as Beautiful: A Carol King Musical or Rocketman.

– The compatibility between biographical fiction and video games: why are there so few biographical video games, and why are so many of them autobiographies? To what extent can the gameplay allow players to be fully involved in a narrative that entirely belongs to someone else?

– More generally, the integration of biographical fiction into other forms of games (RPGs, LARPDs…).

– The representation of minorities in biographical fictions: are they a way to make scarcely visible social groups more widely represented, or a means, specifically for Hollywood studios, to pretend to be inclusive while carefully selecting safe, consensual figures?

– What about fictional biographies, fictions that revolve around a figure who has only existed in fictional worlds?

In a transdisciplinary perspective, the workshop is open to all approaches which may further the exploration of these questions. Papers have to deal with the USA

Paper proposals (300-500 words approximately) may put forward different fields of study and theoretical frameworks and approaches. They are to be sent, along with a short biography, to Jeanne Ferrier (ferrierjeanne@gmail.com) and Danièle André (daniele.andre.univ.larochelle@gmail.com) by January 17th, 2022.

Please note that to present a paper, it is necessary to be a member of the AFEA (The French Association of American Studies, for which the membership fees are about 60 euros) and to register for the symposium (the register fees are about 60 euros as well).

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Deadline for Proposals January 21, 2022

Re: REQUEST FOR PROPOSALS – Freelance Story Writer for Hispanic Access


Introduction

Hispanic Access Foundation is a national 501(c)(3) organization that connects Latinos with partners and opportunities to improve lives and create an equitable society. Our vision is that all Hispanics throughout the U.S. enjoy good physical health, a healthy natural environment, a quality education, economic success and civic engagement in their communities with the sum of improving the future of America.

In the spirit of our mission and vision, Hispanic Access wants to highlight 52 stories from our various networks. We work nationwide with faith leaders, conservation focused individuals, Black, Indigenous, Latinos, and other people of color, and other community leaders. With these stories, we want to
amplify the voices of those that we work with through our social media and website.

The Stories

Hispanic Access Foundation will provide its freelance writer with the story ideas, corresponding network members and their contact information. The writer will then take this information to conduct interviews in order to produce a total of 52 (400 – 700 word) stories. The breakdown of stories/networks
provided will be similar to this:

o Conservation (11 total Stories)

▪ Por La Creación Faith-Based Alliance
▪ Latino Conservation Week
▪ Our Heritage, Our Planet Film Week

o Hispanic Leadership Network (11 total Stories)

▪ HLN Retreat 2022

▪ HLN Cohort Members

o MANO Project (11 total Stories)

▪ US Fish and Wildlife Service
▪ National Park Service
▪ US Forest Service
▪ MANO Alumni

o Organization (11 total Stories)

▪ Latino Advocacy Week
▪ Board Members
▪ Staff

o Our Dreams Scholarship (4 total Stories)

o COVID Vaccine Initiative (4 total Stories)
 
What We Expect

Here are our guidelines for these stories:
● 400-700 words
● 3-5 high quality photos from the individual to attach to the story.
(We will provide guidance on what is needed for the feature photo and the quality of other images. Writer will not need to take the images, simply instruct the contact on what’s needed and coordinate their reception.)
● Written in the third-person perspective
● Bilingual (English and Spanish) — it is likely that some of our members prefer to be interviewed in Spanish.

Budget

We will pay $100 for each story written, budgeted up to $5,200 for 52 stories.
● Funds can be distributed after every 5-10 stories submitted or as a lump sum at the end of thecontract, depending on writer preference.

Timeline

Our preferred timeline is outlined below, however, it is open to modifications based on schedule and availability. Additionally, we would look to have a monthly 1 hour check-in beginning on February 1st.

● January 21 – Proposals Due
● January 25 – Contract Awarded
● February 11 – First 3-5 Stories Due
● March 11 –8 Stories Due
● June 1 – 8 Stories Due
● August 1 – 8 Stories Due
● October 1 – 8-10 Stories Due
● December 1 – Final 8 Stories Due

Submission Requirements

We’re not looking for a lengthy proposal.Your proposal should include the following items, which will inform the selection process:

● Writing Samples: provide PDFs or links to 3 examples that demonstrate your writing abilities when it comes to writing features/profiles..
● Budget: provide a budget proposal that includes your fees, as well as any additional costs that should be considered.
● Timeline: We outlined the tentative timeline above, please outline the timeline from your perspective.
● Spanish Language Proficiency: Please highlight your Spanish language capacity (native/bilingual, conversational, professional).
 
Point-of-Contact

For questions about the scope of work, please contact:
● Evelyn Ramirez, Digital Communications Associate, evelyn@hispanicaccess.org

Deadline for Submission

Proposals should be received no later than Monday, January 21, 2021. Submissions should beemailed to Evelyn Ramirez at evelyn@hispanicaccess.org.

Proposal Reviews/Calls/Selection
Proposals will be reviewed by staff. Calls may be scheduled by Hispanic Access Foundation if necessary.

CfP: Modern Travel, Modern Landscapes: Connections and Exchanges in Europe c. 1850-1950

(1/28/2022; 7/6-7/2022)

This conference is intended as the first in a series of events to discuss travel writing in modern history and literature. It is organised by Jana Hunter (University of Oxford) and Christian Drury (Durham University) – please see a call for papers below.

Christian Drury
Department of History
Durham University
christian.j.drury@durham.ac.uk

Modern Travel, Modern Landscapes

Connections and Exchanges in Europe c. 1850-1950

6th and 7th July 2022

University of Durham 

Travel was central to shaping identity in Europe between the mid-nineteenth and mid-twentieth century. Representations of place, as well as personal, cultural and institutional connections, informed and structured travel at this time. Travellers within Europe and from outside shaped an understanding of what Europe was and is in a global, imperial context. As Kate Hill has put it, “under the influence of technological and colonial change, spaces, narratives themselves, and cultural encounters all took on a greater measure of flux as the nineteenth century progressed. The provisional nature of the modern categories of home and away were forged in the nineteenth century”.

This conference calls for papers on travel in this period, especially travel writing which considers landscape and modernity as key themes. Considering travel narratives, both published and private, as well as other texts, images and sources, allows us to consider these historical connections in greater detail, while taking travel as a practice, together with the structuring themes of landscape and modernity, will enrich our understanding of European history in the period.

Modern Travel, Modern Landscapes looks to engage with a rich diversity of subjects including but not limited to: history and history of science, geography and natural sciences, art history and visual culture (photography and film), as well as architecture and urban studies. We are particularly interested in understanding how travel and landscape can be perceived and experienced  by an individual. As such, we encourage submissions which explore not only physical travel, but also ‘armchair travel’ through the consumption of the representations of place. We will consider broadly four main themes:

Identities

Identities are formed by travel and travel is influenced by identities. In modern Europe, the identity of the traveller, as well as those they travel with, are crucial for thinking about who can travel and where. We welcome submissions that consider these identities of travel, as well as the forms their depictions of travel take and how connections are – or are not – made.

  • How does a traveller identify with a place and with travelling?
  • Who can travel and where? Who can choose their travel?
  • Who claims authority to speak about the place travelled to and through?
  • How is Europe represented by travellers from the rest of the world?
  • How does the travellee respond? How can hidden or marginalised actors be included?

Infrastructure

Travellers need ways of getting to places and their forms of travel affect their representations of place. However, infrastructure is more than transport and we encourage submissions which take a broad approach to discussing the way in which travel was structured and communicated.

  • How do different types of travel affect travel narratives?
  • Who is a tourist and does it matter? How can we diversify the idea of infrastructure?
  • How are travellers influenced by existing discourses?
  • What is the relationship between infrastructure and landscape?

Time and temporalities

Time may not be at the heart of travel writing, but it does present itself in a number of different ways. There are a number of ways to read time and temporality in travel writing, encapsulating notions of history, encountered in the environment, or even in terms of progression. We welcome submissions that explore how travellers experienced, perceived, and considered temporalities and in turn, informed their audiences back at home.

  • How has time been represented, coded and understood by travellers? 
  • How do travellers and/or travellees apply meaning to time and temporality?
  • To what extent can we consider temporality to be a dimension of travel experience?
  • How did encroaching modernity shape ideas of time?
  • How was time experienced in different spaces and environments?

Borders and frontiers

A number of different borders and frontiers were crossed by travellers, which not only played into the travellers’ cultural identity and perception of the self, but also fed into the wider understanding of the society and cultures they were encountering. We welcome discussions that explore physical boundaries and frontiers, for example geopolitical and military, but also encourage submissions discussing racial, gender, and sexual frontiers or that focus on how economic, linguistic, national and aesthetic borders were negotiated. 

  • What different frontiers exist?
  • How did frontiers influence identities?
  • When, where, and how were frontiers challenged, faced, and crossed?
  • Did they create new tensions or categories?
  • Are frontiers in opposition to one another?

Please send an abstract of up to 300 words and a short biography of no more than 100 words to Jana Hunter and Christian Drury (mtml2022@gmail.com) by Friday 28th January 2022. Contact Info: 

Christian Drury and Jana Hunter

Durham University/University of Oxford Contact Email:  mtml2022@gmail.com URL:  https://mtml2022.wordpress.com/call-for-papers/

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Call for Proposals: The Routledge Companion to Latinx Life Writing

Abstracts Due–January 28, 2022

Contributions are invited for consideration to be published in a collection of essays introducing readers to Latinx Life Writing, a prominent and essential pan-genre within Latinx literature since Latinx literature began to be conceived as such. Life writing is a broad umbrella term that encompasses a number of genres in which authors take life and lived experience as their core subject. Within Latinx life writing, these genres include memoir, autobiography, and testimonio most centrally. The proposed handbook provides a broad overview of the Latinx life writing in terms of its history, key themes and questions, and genres. The handbook will feature chapters on the trends and concerns of Latinx life writers across different historical periods, providing insight into various thematic and generic concerns as they evolve throughout Latinx cultural production.  Although this book is scholarly in nature, the tone will be broadly accessible in order to make the book suitable for a wide audience including graduate students, undergraduate students in community colleges and four-year universities, and classroom instructors. 

THE ROUTLEDGE COMPANION TO LATINX LIFE WRITING is under contract and scheduled to be published in 2024. 

We are seeking proposals specifically in the following areas:

  • 19th century and U.S. occupation narratives (oral histories-narratives, correspondence, memories, diaries)
  • Crónica, relatos, testimonios
  • Fictionalized autobiographies/life writing in fiction/plays 
  • Corridos, folklore, oral forms
  • Correspondence (in wartime or Latino veterans or because of family separation, etc.) 
  • Poetry of protest 
  • Coming of age autobiographical narratives 
  • Experimental autobiographical works
  • Education testimonios
  • Chicana and Latina “Third World” women of color feminist mixed genre writing
  • Autobiographical narratives of exile 
  • LGBTQ+/Queer articulations
  • Testimonios and new media (Digital Humanities, digital storytelling)
  • Grief, trauma narratives 
  • Graphic narratives
  • Undocumented narratives

We are seeking only original, never before published work at this time. Please submit a no more than two page abstract (approximately 500 words) of a chapter that you wish to be considered for this handbook by as well as a 2 page abbreviated curriculum vitae. Please send any questions and your abstract for the chapter you wish to be considered to the volume editors,  Dr. Christine Fernandez (chrfernandez@csumb.edu) and Dr. Maria Joaquina Villaseñor (mvillasenor@csumb.edu). Contact Info: 

Professor Maria Villaseñor, California State University, Monterey Bay; Professor Christine Fernandez, California State University, Monterey Bay Contact Email:  mvillasenor@csumb.edu

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Call for Papers: Biographies of Numbers
July 7, 2022 to July 9, 2022, University of Erlangen-Nuremberg, Germany

Deadline for Submissions: January 31, 2022

Throughout the twentieth century, Chinese intellectuals, politicians, and scientists were obsessed with the population number of their country. From the late nineteenth century to the foundation of the People’s Republic (PRC) in 1949, without being able to rely on entirely accurate census surveys, they alleged that China had 400 million inhabitants (Bréard 2019). Consequently, the narrative goes, this made the world’s most populous country hard to govern, but also one of the most important countries in the world which eventually deserved a leading role in international politics. Governing and controlling the population arguably has been and is one of the most fundamental concerns of the government of the PRC, spawning numerous social engineering projects such as the one-child policy or the social credit system.    

Biographies of Numbers will explore the life of numerically framed knowledge, such as the population of China, from a global historical perspective on quantification, regarded as one of the most pervasive practices of the modern world. This conference is based on the assumption that numbers have their own biographies: they come into being, lead a life of their own, travel in time and space, have a career, and eventually fall into oblivion. That numbers are not simply the objective reflection of reality but socially, politically, culturally, and historically constructed knowledge has been shown extensively for the case of statistics in the Western world (Desrosières 1993, Porter 2020). At the same time, numbers are powerful agents which represent, transform, and recreate individual lives, social worlds, political spheres, nature, or other entities that are taken for granted. Statistical and other numbers, invoking mathematical reason and scientific truth, often claim universal validity and thus circulate easily from one site to another. By following the global trajectory of a single number from its production and global dissemination to the divergent narratives surrounding its numerical value, we can analyze the stabilizing and destabilizing impact of numbers on individual and collective practices and imaginaries. The aim of the conference is to trace the biographies of specific numbers. Although we will limit ourselves to “scientific numbers”, i.e. those that are grounded on quantitative knowledge and method, our notion of “number” is to be understood more broadly, including indicators, formulas, and statistics as well.

By focusing on the historical emergence and circulation of numbers and on patterns of argumentation and narration with these numbers, this conference also aims to contribute to historical epistemology and the global history of science. Rather than pursuing a realist approach that focuses on the alleged scientific “discovery” of numbers or claiming that they are mere “inventions” in the constructivist sense, we see to follow the argument that numbers as (scientific) objects can be “simultaneously real and historical” (Daston 2000:3).

Possible questions to be addressed might include: How do certain numbers or indicators become objects of scientific inquiry or scientific entities themselves? What debates are they surrounded by, how and when do they become entrenched in scientific practices, and how do they disappear from the consciousness of the public or scientific experts? What powers and agency do we attribute to numbers? What are the sources of their power? How do numbers interact with other forms of authority, for example law, to create trust? How have instruments of quantification altered the modalities of governing and forms of personhood and subjectivity? Who writes the biography of a number?

Although some of these questions have been examined partially in a Western European or North American context, they have been largely ignored regarding other regions. We welcome contributions that deal with the historical and cultural role of numbers, particularly in China but also more generally in other East Asian countries. While papers may be situated in a local context, they are welcome to chart developments that occurred in many areas and over longer time periods.

Contributions might address the following topics:

  • biomedical numbers and indicators as ideals or thresholds (such as the 7-day incidence in the context of COVID)
  • the cross-cultural dissemination and adaptation of an indicator
  • governing individuals and populations by body measurements and biometrical data
  • the political life of social numbers and their effect on categories such as family, gender balance, etc. (e.g. China’s “One-Child”)
  • the role of ideology in the construction and application of quantitative knowledge
  • numbers as authoritative entity justifying policies
  • numbers as cultural, social or political icons
  • delegation processes that contribute to the fame and persistence of a numerical entity
  • the dichotomy between the absolute (universal, eternal) value of a number and its narratives or degrees of realism (variable, manipulable, etc.).

Practicalities and timeframe:

The Conference is organized with the generous support of the Alexander von Humboldt Foundation within the framework of the sin-aps project at the Chair for Sinology with a focus on the Intellectual and Cultural History of China, University of Erlangen-Nuremberg. It will take place July 7-9, 2022, in the city of Erlangen. Please send an abstract of no longer than one page and a short, one-paragraph biographical statement to Prof. Andrea Bréard andrea.breard@fau.de and Dr. Nicolas Schillinger nicolas.schillinger@fau.de by January 31, 2022.

Selected participants are expected to send in an unpublished paper draft by the end of May 2022, since we will have discussion and reading groups based on participants’ submissions and envision a publication after the conference.

References

Bréard, Andrea. “400 Millionen – Globale Wirkungen einer mächtigen Zahl.” in N. Bilo, S. Haas and M. C. Schneider, eds., Kulturgeschichte der Statistik, Steiner Verlag (2019), 215–232.

Daston, Lorraine, ed. Biographies of Scientific Objects. University of Chicago Press, 2000.

Desrosières, Alain. La politique des grands nombres : une histoire de la raison statistique. Paris: La Découverte, 1993.

Porter, Ted. Trust in Numbers: The Pursuit of Objectivity in Science and Public Life. Princeton University Press, 2020 (2nd ed.). Contact Info: 

Alexander-von-Humboldt Research Group Sin-Aps

Hartmannstr. 14, D3

91052 Erlangen, Germany Contact Email:  nicolas.schillinger@fau.de URL:  https://www.sin-aps.fau.de/

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Deadline for Submissions January 31, 2022

CFP: Remembering Contentious Lives
May 11-13th 2022 at Utrecht University
Organised as part of the ERC research project
Remembering Activism: The Cultural Memory of Protest in Europe (PI
Ann Rigney)
Contact: Clara Vlessing, Duygu Erbil, react@uu.nl.

What can studying life stories tell us about the relationship between memory and activism? Auto/biography studies has long been interested in the ways in which written lives construct subjectivities. Life writing itself has under certain conditions been theorised as a dissenting practice (Perkins 2000; Powell 2021): functioning as testimony in human rights activism (Schaffer and Smith 2004; Whitlock 2007), exemplifying textual forms with which to voice resistance (Harlow 1987; Harlow 1996) or constructing a repertoire of activist identities. Building on these discussions of the socio-political potential of representing lived experience, this conference looks specifically at the storying of contentious lives. How do we remember lived experiences of dissent? And how does life writing, as an act of cultural remembrance, play into the construction of collective identities? Can remembering past activist lives affect contemporary activism?

Bringing together social movement, cultural memory and auto/biography studies, this conference will consider the role of life stories in the memory-activism nexus (Rigney 2018). Auto/biography has a part to play in memory activism (Gutman 2017), in the mobilisation of memory in activism and in mediating the memory of activism: storying contemporary or recent lives saves a particular set of images or version of events for posterity; while the storying of past lives affects the changing memory of protest and protestors, and has the potential to mobilise activists in the present. Focusing on memories of change and the desire to change, it aims to bridge the gap between accounts of remembering selves and remembering collectives in social movements.

Possible lines of enquiry include:

●  What can life writing help us understand about the role of cultural memory in social
movements?
●  How can an individual’s storied life stand for a collective? What are the available subject
positions or models for contentious subjectivities?
●  What are the media and genres for remembering contentious lives? What literary devices are
at work and how do they structure political emotions and affect?
●  Which institutions prompt or affect the stories of contentious lives? How does this change
over time?
●  What forms of witnessing are important to the memory of social movements? Is there an
inherent relationship between witnessing and injustice?
●  How does the memory of movements relate to the memory of individual lives, which go on
longer than particular protest cycles? What role does intergenerational storytelling have in the transmission of contentious memories?

If you are interested in participating, please send a 350-word abstract and short bio to react@uu.nl before January 31st 2022. This is an in-person conference with the possibility of online presentation. A limited number of travel grants will be made available. We intend for this conference to lead to an edited publication in a peer-reviewed venue. Participants will be invited to contribute.

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Deadline for Submissions January 31, 2022

CALL FOR PAPERS

Poetics of Travelling Self: Discursive Formations and Purposiveness of Travel

Special Issue of Language, Literature, and Interdisciplinary Studies

The heterogenous character of protean form of travel writing—letters, journals, logbooks, diaries, memoir, journalistic pieces, guidebooks, confessional narratives, accounts of seafaring voyages, literary picaresque narratives, scientific explorations, artists’ escapades, ventures of urban flâneurs, self-exiled wanderers, and fictionresists easy demarcation. Its heterogeneity lies in the revisionary stance brought about in each narrative through the distinguishing figure of the traveller, mode of narration, means of mapping, or redefining of the landscape. Right from antiquity to medieval, modern to postmodern times, travel narratives have showcased relevance despite premature announcements or off-the-mark assessments of their ‘death.’ Witnessing a renaissance in the late twentieth century, travel writings continue to be written in ever increasing numbers in the twenty-first century and engage critical attention across disciplines.   

Travel writing fosters self-fashioning through the curation of a persona with experiential outlook who presents the world to her readers. This mode of subjective perception and a detached analytical voice threading along in the narrative melds facts with the imaginary to create literary composition with varied manifestations. A genre that quintessentially encounters the other also gives rise to the discursive formations of the other perceived through the gaze of traveler. The embeddedness of gaze, individual and/or collective, in a certain cultural ideology not only helps in evaluating one’s own context but also works to construct epistemological narratives of what is perceived as foreign, resulting in the intertwining of micro with macro history. Crosscurrents of representing actual or fictional travel narratives, while creating space for cross-cultural fertilization, often involve involuntary expeditions into the unknown. Slave narratives, refugee narratives, exile narratives among others reveal a complex motif of travel caused by forces external to the subject. In these accounts of journey beyond, home is the seminal anchor that provides a threshold for theoretical underpinnings relevant to diaspora, migration, and displacement.

The poetics of the travelling self is a subject of curiosity since the beginning of Homo sapiens’ story right from the time when they dispersed out of Africa. The motifs of journey, be it inner or outer, along with their motivation and purpose have certainly been diverse: exploratory, survival, religious, commercial, exploitative, scientific, or professional. Documented through time and space, these motifs corroborate the descriptive with the affective to profoundly shape the history of the world as we know it. If, at one level, they raise extensive questions related to privileged mobility, dynamics of geopolitical boundaries, and economic structures then at another level, they probe explicit issues of neo-imperialism, along with the perpetuation, reinforcement, and reproduction of prevailing ideologies of Empire. The inviting simplicity and intrinsic complexity of travel literature allows for scrutiny on multiple scales—insightfully teasing out political and historical hegemonies enmeshed with racial, class, gender, and power dynamics. In recent years, disability studies too have made major inroads into this genre. Moreover, in conjunction with new digital media, characterized as mobility turn in Arts as well as Humanities and more generally in Social Sciences, enquiry into travel literature takes precedence and acts as a crucial optic to make sense of new configurations of power, subjectivity, relationality, and the globalized world alike. Critical engagement with travel writing yields a fruitful site for the analysis of social, historical, economic, political, and cultural issues underpinning contemporary state of affairs. In the context of Covid-19 pandemic here, ‘vaccine passport’ emerges as an interesting phenomenon to study vis-à-vis travel writing. Critical engagement with travel writing yields a fruitful site to study issues in the contemporary scenario by way of interdisciplinary analysis involving philosophy, sociology, history, anthropology, literary studies, economics, political science, rhetoric, media and cultural studies, and linguistics among others.

Scholars are invited to explore how travel writings make and remake us and our world through and beyond following themes:

  • Travel writing as Life Writing
  • Wanderlust and economy of desire
  • Dynamics of exclusion
  • Democratization of travel and mass tourism
  • Travel writing as means of worldmaking
  • Travel writing and thanatourism
  • Memory Studies and travel writing
  • Tradition of travel writing in non-western world
  • Food and travel
  • Pedagogical approaches to travel writing
  • Motif of travel in Bildungsroman genre
  • Travel as a theme in Science Fiction and popular fiction
  • Formation/crisis of identity
  • Autobiographical travel narratives: phenomenology of experience
  • Travel writing in Cultural Studies
  • Travel writing and Medical Humanities
  • Theories of affect in relation to travel writing 
  • Travel blogs, vlogs, and visual culture
  • Philosophical travelogues
  • Significance of religion in travel writing
  • Travel journalism
  • Travel writing and imagined geography/cartography
  • Ecocritical approaches to travel writing
  • Travel writing and cosmopolitanism

Submissions:

Only complete papers will be considered for publication. The papers need to be submitted according to the guidelines of the MLA 8th edition. You are welcome to submit full length papers (3,500–10,000 words) along with a 150 words abstract and list of keywords. Please read the submission guidelines before making the submission – http://ellids.com/author-guidelines/
submission-guidelines/
. Please feel free to email any queries to – editors@ellids.com.

Please make all submissions via the form: https://forms.gle/c4tN4M1JdJCKXLgr7  

Submission deadline: 31st January, 2022

Website – http://ellids.com/

Facebook – https://www.facebook.com/journal.llids/ Contact Email:  editors@ellids.com URL:  http://ellids.com/

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CALL FOR PAPERS
3rd EUI CONFERENCE IN VISUAL AND MATERIAL CULTURE STUDIES

Souvenirs, keepsakes and tokens:
material and visual expressions of personal memories (12th-21st centuries)

16th May 2022
European University Institute, Florence

Submissions Due–31st January 2022

 

Organizing committee: Elisa Chazal, Isabelle Riepe, Ana Struillou

People use objects as a memento for fragments of their lives, be they ordinary memories of childhood, or extraordinary memories of travel, wonder, belief, rupture or oppression. From the inception of pilgrimage, travellers collected and carried tokens of the places they transited through that were later displayed back home. Similarly, souvenirs are also meaningful objects in sedentary lives,materialisingdomestic and intimate momentsand tensions within the home. Yet, souvenirs were not crafted, distributed, sold and acquired solely by European men and women. Instead,from medieval pilgrimages to present-day immigration, sedentary and mobile individuals are engaged in a form of emotional attachment to objects, as reminders of their past. We define souvenirs as mementoes of places and times, tied to individuals and communities who ascribed to them changing meanings and functions throughout their existence. These ever-evolving objects acquired new values and symbolic status. Taking this broad definition of souvenirs, this conference seeks to ascertain how individuals, families and communities memorialise their past through the visual and material world.

We welcome proposals discussing the trajectory of souvenirs from their creation, distribution and their eventual musealisation or destruction, from the twelfth to the twenty-first century. Papers are expected to use visual and material evidence. We aim for this conference to reach beyond the boundaries of historical scholarship and therefore warmly welcome papers from other fields including art history, historical anthropology, and archaeology.

The researcher-led Visual and Material History Working Group of the European University Institute in Florence invites you to a one-day conference on the material and visual expressions of individual memories. By encouraging exchanges between different disciplines and scholars researching on the medieval, early modern and modern periods, we hope that this event will foster new questions and perspectives on the fields of historical anthropology, history and art history.

Proposals may include, but are not limited to:

  • Religion and pilgrimage
  • Ruptures: armed conflicts, revolution, end of regime, wars
  • Forms of oppression, slavery, prosecution and forceful confinement
  • Gender and sexualities
  • Health and pandemics
  • Family and life trajectories
  • Diasporas and migrations
  • Grand tour and modern tourism (e.g., mass-produced souvenirs)
  • Collecting practices, displays and performances
  • Categorization and administration of objects

To submit a paper, send an abstract (no more than 300 words) and a short biography to visual.materialeui@gmail.com by 31st January 2022. Early-career researchers are particularly encouraged to submit.

We hope this event to take place on site, or at least in a hybrid format. Partial covering of travelling and accommodation expenses is possible for the speakers willing to travel to Florence. Please indicate in your submission if you would be willing to come to Florence, should the situation allow it, or would prefer to attend via ZOOM. Contact Email:  ana.struillou@eui.eu URL:  https://blogs.eui.eu/visual-material-history/call-for-papers-souvenirs-keepsakes-and-tokens-material-and-visual-expressi…

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Call for Papers: Autotheory: Thinking through Self, Body, Practice (Hybrid Conference)

Deadline for Submissions: 1st February 2022

Date: Week of 24th October 2022

Venue: University of Glasgow and online

In 2015, the term ‘autotheory’ rose to prominence with the publication of Maggie Nelson’s The Argonauts, eliciting a flurry of critical and academic attention. Yet the practice of blending self-representation with philosophical and theoretical engagements has a long history and rhizomatic roots. Notably, the practice has been mobilised and advanced through the work of Women of Colour and LGBTQ+ feminist writers and thinkers, for example Audre Lord, bell hooks, Cherríe Moraga, Christina Sharpe, Gloria Anzaldúa, and Theresa Hak Kyung Cha. Comparable practices have arisen across time and place, across traditions of memoir and autobiographic writing, personal essay, creative nonfiction, criticism, autoethnography, activism, philosophy and critical theory, as well as in performance, visual art and film. While the practice has been most closely associated with literature, we are interested in exploring its possibilities beyond. Artists like Adrian Piper and Félix González-Torres push the boundaries of the term beyond the literary sphere and we especially encourage submissions that do the same.

We use ‘autotheory’ not to limit the possibilities of engagement, but rather to pay homage to the thinkers who have thought alongside it over the years; thinkers like Gloria Anzaldúa, who’s  ‘autohistoria’ and ‘autohistoria-teoría’ are foundational blocks for autotheory as it is understood today. Anzaldua used ‘autohistoria’ to describe art that ‘depicts both the soul of the artist and the soul of the pueblo… [which] goes beyond the traditional self-portrait or autobiography; in telling the writer/artist’s personal story, it also includes the artist’s cultural history.’ In 2009, she coined ‘autohistoria-teoría’ to describe a ‘personal essay that theorizes’. 

The cognate ‘autotheory’ was coined by Stacey Young in 1997 to describe feminist ‘autotheoretical texts’ such as This Bridge Called My Back (ed. Gloria Anzaldúa and Cherríe Moraga) as ‘counter-discourses’ and ‘the embodiment of a discursive type of political action, which de-centers the hegemonic subject of feminism’. Later, Mieke Bal described the practice as a ‘ongoing, spiralling form of analysis-theory dialectic’ and more recently still, Lauren Fournier has referred to autotheory as a means of using autobiography, first person and other self-imaging processes to perform, enact, iterate, subvert and instantiate the hegemonic discourse of theory and philosophy.

The term, then, is nebulous and porous, open to multiple iterations and possibilities. We want to explore them.  

Autotheory: Thinking through Self, Body, Practice will be held over two days at the University of Glasgow and online and will explore autotheory across practices, mediums, disciplines, places and times. We seek contributions from activists, artists, critics, curators, filmmakers, musicians, performers, scholars, writers, and anyone whose work engages with autotheory or with the self and theory/philosophy, working in any medium. We are interested in papers, performances, workshops,  and cross-modal events which explore the history and/or future of autotheory; autotheory as decolonial and feminist practice; the assumptions and implications underlying the mode; practices of autotheory; autotheoretical works and works which might be autotheory; and anything else that touches on the personal as theoretical. Autotheoretical approaches are encouraged. Please also send us your autotheoretical poems, songs, artworks, fragments and uncategorizable miscellanea–we hope to provide space for autotheoretical works themselves.

If you have any queries, please email us at: autotheoryconference@gmail.com

To submit, please complete this google form: https://forms.gle/a4qN1evzivVRxiUNA 

Submissions should include an approximately 300 word proposal and a little bit about yourself. Please also consider if you would like to contribute in person or online and let us know any specific requirements your submission might entail.*

Deadline for Submissions February 22, 2022
Récit de vie féminin dans l’Europe de l’Est et du Sud-Est/
Women’s Life Writing in Eastern and South-Eastern Europe/
Literatură auto/biografică feminină în Europa de Est şi de Sud-Est
 
Call for Papers
In the form of memoirs, autobiographies, diaries or correspondence, or given a literary spin as autofiction and biofiction, the experiences of East and South-East European women during wartimes and under the oppressive regimes of the twentieth century (a period laden with contrasts, which in the West was hailed as “a century of women”, Rowbotham 1997, but also framed as an “age of testimony”, Felman and Laub 1992) have been surfacing in the past two decades. The transmission of these narratives followed sinuous paths, taking both verbal and non-verbal forms, relying on both “filial” and “affiliative” networks (Hirsch 2012), and coming from both female victims and female perpetrators (Schwab 2010). If deciphering most of what came to light requires the careful eye of a literary or cultural studies scholar, the broad perspective of a historian, or the attentive ear of a psychoanalyst, some phenomena of resurfacing bring back not only traumatic legacies, but also extremist ones, pushing towards repeating a history of perpetrations (Pető 2020), a concerning tendency which calls for a political scientist’s perspective.
The persistence of women’s psychic wounds, passed on through “postmemory” (Hirsch 1997 & 2012) has generated  “haunting legacies” (Schwab 2010) as it shaped the next generation’s unconscious reflexes, and has found a forceful outlet in works of life writing coming either from second-generation witnesses or from the publication of previously censored works by victims of totalitarian regimes. The transmission of these narratives happened against the backdrop of an uneven social progress, which created gender gaps and accentuated women’s vulnerabilities, despite the presence of emancipation movements, which received official support from some political regimes.  
This issue will look at how traumatic memories (lived, inherited, or transmitted) are transformed through the aesthetic agency of literature (sometimes with additional support from photography or visual art), thus building a safe space where the revisiting of the past allows room for both reflection and learning. The volume focuses on a triad of aspects of life writing: witnessing (following distinctions made by Derrida and Agamben, and recently refined by van der Heiden 2019, between the Latin testis, superstes, martyr – derived from the Greek martus – and auctor), enduring (which brings together suffering and duration or survival), and recovering (connoting healing in the intransitive form, but also rescuing or preserving in the transitive). We also want to take into account the influence of censorship and self-censorship on the process of witnessing and the way “missing memory” (Schwartz, Weller, and Winkel, 2021) finds a compensation in fictional forms of life-writing. Contributions should cover the large life writing spectrum (biographical and autobiographical narratives, memoirs, diaries, letters, biofiction, or autofiction), including posthumously published or retrospectively written accounts.
The memory of past trauma or past guilt seeped in through gestures, images, whispers, storytelling, silences. Life writing (broadly conceived to include photography, correspondence, and archival material) has offered the main  instrument to access, reassemble, and give meaning to these traces of history. Deciphering the “communicative legacies of trauma and resilience” (Hannah Klieger, in Mitroiu 2018), the relationship between memory and history (Radstone and Hodgkin 2003), but also between witnessing and literature (Felman and Laub 1992, van der Heiden 2019), are some of our main goals for this special issue. The impact of local context on form (Mrozik & Tippner 2021) has modelled the categories of life writing in Eastern and South-Eastern Europe, providing a vantage point for formulating new theories on the development of genre. We too are very interested in highlighting the local and regional background and the specificity of these political, social and cultural environments, with their impact on women’s life-writing.
We invite submissions on topics including, but not limited to:
  • The value of testimony, persistence, and survival in women’s life writing and of life-based literary narratives (biofictions and autofictions) as related to historical traumas;
  • The role of literature, but also hybrid genres (life writing accounts including photography and visual art) in recovering Eastern and South-Eastern European female experiences of the twentieth century and in recording the postmemory of these experiences in contemporary times;
  • Politics, women’s emancipation movements and their backlashes: 19th century origins, Marxism and the Cold War.
  • The involvement of women from Eastern and South-Eastern Europe in political movements (leftist or rightist adherence, even extremist groups) and, if the case, the resulting traumatic repression as it is portrayed in various media.
  • The impact of the World Wars and the Cold War as well as communist/fascist repression and censorship on the evolution of women’s life writing and memory preservation;
  • The body as site of trauma, recovery, and witnessing in women’s life writing that reflects the historical atrocities of the twentieth century;
  • The transition from suffering witness (martus) to storytelling witness (auctor) in women’s life writing;
  • Establishing transnational connections and routes of memory within Eastern and South-Eastern European women’s life writing;
  • The conflicted identities of descendants and / or close friends of victims but also of perpetrators of historical trauma.

Please submit your proposals to the editors as follows:
Proposals on Romanian life-writing, Cold War and totalitarian contexts: Dr. Andrada Fătu-Tutoveanu, Lecturer, andrada.pintilescu@fspac.ro
Proposals on Biofiction and Autofiction, Postmemory: Laura Cernat, PhD candidate, cernat.laura@kuleuven.be
Proposals on South-East European and Eastern European literature:  Dr. Bavjola Shatro, Associate Professor- shatro.uamd.edu@gmail.com
Deadlines for submissions: ABSTRACTS  (around 300 words): February 10, 2022.
FULL PAPERS (around 8000-9000 words): June 30, 2022.

Bibliography:
Felman, Shoshana, and Laub, Dori. Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History. New York & London: Routledge, 1992.
Hirsch, Marianne. Family Frames: Photography, Narrative, and Postmemory. Cambridge, MA & London: Harvard University Press, 1997.
Hirsch, Marianne. The Generation of Postmemory: Writing and Visual Culture After the Holocaust. New York: Columbia University Press, 2012.
Mitroiu, Simona (ed.). Women’s Narratives and the Postmemory of Displacement in Central and Eastern Europe. Cham: Palgrave, 2018.
Mrozik, Agnieszka, and Tippner, Anja. “Remembering Late Socialism in Autobiographical Novels and Autofictions from Central and Eastern Europe: Introduction”. European Journal of Life Writing. Vol 10, 2021, pp. 1-14.
Pető, Andrea. The Women of the Arrow Cross Party: Invisible Hungarian Perpetrators in the Second World War. Cham: Palgrave, 2020.
Radstone, Susannah, and Hodgkin, Katharine. Regimes of Memory. London & New York: Routledge, 2003.
Rowbotham, Sheila. A Century of Women: The History of Women in Britain and the United States. London: Viking, 1997.
Schwab, Gabrielle. Haunting Legacies: Violent Histories and Transgenerational Trauma. New York: Columbia University Press, 2010.
Schwartz, Matthias, Weller, Nina, and Winkel, Heike. After Memory: World War II in Contemporary Eastern European Literatures. Berlin/ Boston: De Gruyter, 2021.
Van der Heiden, Gert-Jan. The Voice of Misery: A Continental Philosophy of Testimony. New York: SUNY Press, 2019.

Récit de vie féminin dans l’Europe de l’Est et du Sud-Est/
Women’s Life Writing in Eastern and South-Eastern Europe/
Literatură auto/biografică feminină în Europa de Est şi de Sud-Est

Appel à contributions
Soit sous la forme de mémoires, d’autobiographies, de journaux ou de volumes de correspondance, soit recevant une tournure littéraire en tant qu’autofiction et biofiction, les expériences des femmes de l’Europe de l’Est et du Sud-Est en temps de guerre ou pendant les régimes oppressifs du vingtième siècle (période pleine de contrastes, ayant été célébrée comme « un siècle des femmes » dans l’Occident – Rowbotham 1997, mais aussi présentée comme un « âge du témoignage » – Felman and Laub 1992) n’ont cessé d’émerger durant les deux dernières décennies. La transmission de ces récits a suivi des voies sinueuses, prenant des formes parfois verbales et parfois non-verbales, soutenue autant par des réseaux « filiaux » que par des réseaux « affiliatifs » (Hirsch 2012) et provenant tant du côté des femmes victimisées que de celui des femmes coupables d’atrocités (Schwab 2010). Si l’interprétation des documents qui sont parus récemment dans ce domaine serait une tâche pour l’œil soigneux du spécialiste en littérature ou de l’expert en études culturelles, entrainant également la perspective vaste de l’historien ou peut-être l’oreille attentive du psychanalyste, il existe également des phénomènes de réémergence qui réaniment non seulement la mémoire culturelle traumatique, mais également un héritage extrémiste, engendrant la tendance de répéter des violences historiques (Pető 2020), une évolution inquiétante dont l’analyse réclame une expertise en sciences politiques.  
La rémanence des blessures psychiques que les femmes ont transmises à leurs proches à travers la « post-mémoire » (Hirsch 1997 & 2012) a généré des « héritages obsédants » (« haunting legacies », Schwab 2010), structurant les réflexes inconscients de la génération suivante. De telles expériences traumatisantes, soit héritées soit vécues, ont trouvé un exutoire puissant dans l’écriture de témoignage pratiquée par la génération des enfants des victimes ou dans la publication des ouvrages autobiographiques ou biographiques émanant directement des victimes des régimes totalitaires et à l’époque censurés. La transmission de ces récits s’est passée dans le contexte d’un progrès social inégalement réparti, qui a créé des disparités de genre et a accentué la vulnérabilité des femmes, malgré l’existence de mouvements d’émancipation, qui ont, pour certains d’entre eux, bénéficié du soutien officiel des régimes politiques.
Ce numéro thématique se penchera sur la manière dont les souvenirs traumatisants (soient-ils vécus, hérités, ou transmis) sont transformés par l’agencement esthétique propre à la littérature (parfois aidée par la photographie ou l’art visuel), afin de construire une zone neutre où la reconsidération du passé donne lieu à la réflexion et, par la même occasion, à l’apprentissage. Le volume se concentre sur une triade d’aspects de l’écriture de vie : témoigner (suivant les distinctions, théorisées par Derrida et Agamben, et récemment affinées par van der Heiden 2019, entre les termes latins testis, superstes, martyr (dérivé du grecque martus), et auctor), survivre (survivre à une expérience traumatisante, donc souffrir, mais aussi résister, durer), et rétablir (connotant une guérison dans sa forme réflexive, mais aussi l’effort de récupérer ou de préserver la vérité du passé, dans sa forme transitive). Nous voudrions tenir compte également de l’influence de la censure et de l’autocensure dans le processus de témoignage et de la manière dont la « mémoire manquante » (« missing memory », Schwartz, Weller et Winkel 2021) trouve une compensation dans les modalités fictionnelles de l’écriture de vie. Les contributeurs sont encouragés à couvrir l’ensemble de formes de l’écriture de vie (des récits biographiques et autobiographiques, mémoires, journaux, correspondance, biofiction ou autofiction), y compris des récits publiés à titre posthume ou écrits en rétrospective.
Le souvenir des expériences traumatisantes passées ou d’une culpabilité traumatisante s’infiltre à travers des gestes, des images, des murmures, des histoires, des silences. Les récits de vie (conçus plus généralement comme l’ensemble de techniques de sauvegarde de la mémoire, dont font partie la photographie, la correspondance, les matériaux d’archive) ont fourni l’outil principal pour accéder à ces traces de l’histoire, les rassembler et leur donner du sens. Déchiffrer les « héritages communicationnels du traumatisme et de la résilience » (« communicative legacies of trauma and resilience », Hannah Klieger, dans Mitroiu 2018), ainsi que la relation entre la mémoire et l’histoire (Radstone et Hodgkin 2003), mais également entre le témoignage et la littérature (Felman et Laub 1992, van der Heiden 2019), figurent parmi les objectifs principaux de ce numéro thématique. L’impact du contexte local sur l’aspect formel de l’écriture (Mrozik & Tippner 2012) a modelé les catégories du récit de vie en l’Europe de l’Est et du Sud-Est, offrant un nouvel angle pour formuler des théories innovatrices sur le développement du genre. Nous cherchons également des articles qui mettent l’accent sur le contexte local et régional et sur la spécificité de ces milieux politiques, sociaux, et culturels, dans la mesure où ils influencent le récit de vie féminin.
Nous invitons des contributions sur des thèmes liés au récit de vie féminin dans l’Europe de l’Est et du Sud-Est, parmi lesquels nous recommandons :

  • La valeur du témoignage, de la persévérance et de la survie dans les récits de vie écrits par des femmes ou dans la littérature féminine inspirée par la vie réelle (biofiction ou autofiction) dans leur rapport avec les expériences historiques traumatisantes ;
  • Le rôle que la littérature, mais aussi les genres hybrides (les récits de vie dans leur ensemble, y compris sous la forme de la photographie ou de l’art visuel), jouent dans le rétablissement / la récupération des expériences féminines du vingtième siècle dans l’Europe de l’Est et du Sud-Est et l’impact de ces pratiques sur l’inscription de la post-mémoire de ces expériences dans l’archive contemporaine ;
  • La scène politique, les mouvements d’émancipation et leurs contrecoups : les origines de ces tendances dans le dix-neuvième siècle, notamment les discussions sur l’héritage du marxisme pendant la Guerre Froide ;
  • L’implication des femmes de l’Europe de l’Est et du Sud-Est dans des mouvements politiques (de gauche ou de droite, y compris les adhésions à des groupes extrémistes) et, selon le cas, la répression traumatisante qui s’en est suivie, telle qu’elle est dépeinte dans les différents médias.
  • L’impact des Guerres Mondiales, de la Guerre Froide, de la répression ainsi que de la censure communiste ou fasciste sur l’évolution des récits de vie féminins et sur la conservation de la mémoire collective féminine ;
  • Le corps comme lieu de l’expérience traumatisantes, du rétablissement et du témoignage dans le récit de vie féminin qui relate les atrocités historiques du vingtième siècle ;
  • Le passage du rôle du témoin souffrant (martus) à celui du témoin racontant (auctor) dans le récit de vie féminin ;
  • Les connections transnationales et les routes de la mémoire à travers le récit de vie féminin dans l’Europe de l’Est et du Sud-Est ;
  • Les identités conflictuelles des descendants et/ou des proches des victimes, mais également des descendants et des proches des femmes coupables d’atrocités historiques.

Veuillez remettre vos propositions aux éditeurs selon les catégories suivantes :
Les propositions concernant le récit de vie en Roumanie, l’expérience de la Guerre Froide, et les contextes totalitaires : Dr. Andrada Fătu-Tutoveanu, chargée de cours, andrada.pintilescu@fspac.ro
Les propositions sur la biofiction, l’autofiction, et la post-mémoire: Laura Cernat, doctorante, cernat.laura@kuleuven.be
Les propositions concernant la littérature de l’Europe de l’Est et du Sud-Est: Dr. Bavjola Shatro, conférencière – shatro.uamd.edu@gmail.com
Date limite pour remettre les propositions (environ 300 mots): 10 février 2022.
Date limite pour la remise des contributions (environ 8000-9000 mots): 30 juin 2022.

Bibliographie:
Felman, Shoshana, and Laub, Dori. Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History. New York & London: Routledge, 1992.
Hirsch, Marianne. Family Frames: Photography, Narrative, and Postmemory. Cambridge, MA & London: Harvard University Press, 1997.
Hirsch, Marianne. The Generation of Postmemory: Writing and Visual Culture After the Holocaust. New York: Columbia University Press, 2012.
Mitroiu, Simona (ed.). Women’s Narratives and the Postmemory of Displacement in Central and Eastern Europe. Cham: Palgrave, 2018.
Mrozik, Agnieszka, and Tippner, Anja. “Remembering Late Socialism in Autobiographical Novels and Autofictions from Central and Eastern Europe: Introduction”. European Journal of Life Writing. Vol 10, 2021, pp. 1-14.
Pető, Andrea. The Women of the Arrow Cross Party: Invisible Hungarian Perpetrators in the Second World War. Cham: Palgrave, 2020.
Radstone, Susannah, and Hodgkin, Katharine. Regimes of Memory. London & New York: Routledge, 2003.
Rowbotham, Sheila. A Century of Women: The History of Women in Britain and the United States. London: Viking, 1997.
Schwab, Gabrielle. Haunting Legacies: Violent Histories and Transgenerational Trauma. New York: Columbia University Press, 2010.
Schwartz, Matthias, Weller, Nina, and Winkel, Heike. After Memory: World War II in Contemporary Eastern European Literatures. Berlin/ Boston: De Gruyter, 2021.
Van der Heiden, Gert-Jan. The Voice of Misery: A Continental Philosophy of Testimony. New York: SUNY Press, 2019.


Literatură auto/biografică feminină în Europa de Est şi de Sud-Est
Women’s Life Writing in Eastern and South-Eastern Europe/
Récit de vie féminin dans l’Europe de l’Est et du Sud-Est/

Apel la contribuţii
Fie că a luat forma memoriilor, autobiografiilor, jurnalelor sau coresponţei ori a îmbrăcat forme ficţionalizate (autoficţiune ori bioficţiune), experienţa feminină din perioada războaielor mondiale şi a regimurilor opresive din secolul XX în spaţiul est şi sud-est european a ieşit la suprafaţă şi s-a impus în peisajul editorial al ultimelor două decenii. O perioadă a contrastelor pe planul emancipării, secolul XX a fost celebrat în Occident ca un „secol feminin” („a century of women”, Rowbotham 1997), dar în acelaşi timp a fost considerat o „eră a mărturiilor” („age of testimony”, Felman & Laub 1992). Transmiterea istoriilor personale din această epocă a urmat trasee sinuoase, în forme orale sau scrise, bazându-se pe reţele „filiale”şi „afiliative” (Hirsch 2012), venind atât de la victimele feminine ale diferitelor regimuri opresive cât şi de la alte figuri (în special feminine) care au dus mai departe mărturia victimelor directe (Schwab 2010).  În cursul descifrării acestor istorii personale publicate în ultimele decenii (şi prezentând interes pentru multiple discipline, de la studiile literare şi cele culturale la istorie sau psihanaliză) iese la lumină nu doar memoria culturală traumatică, ci şi, în egală măsură, o conservare şi reemergenţă a extremismului. În unele contexte, aceasta din urmă a putut da naştere unei tendinţe de a repeta violenţe istorice (Pető 2020), o direcţie îngrijorătoare care solicită o perspectivă politologică specializată.
Persistenţa unor traume, transmise apropiaţilor acestor figuri feminine prin ceea ce se numeşte „post-memorie” (Hirsch 1997 & 2012) a generat  „reminiscenţe obsedante” („haunting legacies” (Schwab 2010), transmiţând reflexe inconştiente noii generaţii. Aceste experienţe traumatice, trăite sau moştenite, s-au manifestat cu forţă în scriitura de tip memorialistic sau auto/biografic a generației care a preluat amintirile traumatizante, precum și în scriitura confesivă a victimelor însele, anterior cenzurată de regimurile totalitare. Transmiterea memoriei reprimate s-a produs în contextul unui progres social inegal, care a creat disparităţi de gen şi a accentuat vulnerabilităţile feminine, în ciuda existenţei unor mişcări de emancipare care au primit sprijin oficial din partea unora dintre aceste regimuri. 
Acest număr tematic are în vedere felul în care memoria traumatică (a experienţelor trăite, moştenite sau transmise) este transformată prin influenţa estetică a literaturii (uneori şi prin mijlocirea unor elemente vizuale, fotografie sau arte plastice), construind un spaţiu securizant în care revizitarea trecutului e un prilej de reflecţie şi învăţare. Volumul se concentrează pe o triadă care caracterizează scriitura auto/biografică: mărturia (urmând distincţiile făcute de Derrida şi Agamben şi nuanţate mai recent de van der Heiden, 2019, între testis, superstes, martyr, derivat la rândul său din grecescul martus –  şi auctor), rezistenţa (care concentrează suferinţa, durata, dar şi supravieţuirea) şi recuperarea (având conotaţii terapeutice în formă reflexivă, dar şi de salvare sau conservare în formă tranzitivă). Dorim să luăm în considerare influenţa cenzurii şi auto-cenzurii asupra procesului prin care această mărturie se transmite şi asupra modului în care „memoria absentă” (missing memory, Schwartz, Weller, & Winkel, 2021) e compensată de formele ficţionale ale scriiturii memorialistice (conţinute de termenul-umbrelă de life-writing). Contribuţiile autorilor interesaţi de acest număr pot acoperi un spectru larg de genuri şi subgenuri (biografii şi autobiografii, memorii, jurnale, scrisori, bioficţiune sau autoficţiune), incluzând texte publicate postum sau scrise retrospectiv.
Rememorarea traumelor  sau a vinovăţiei se manifestă în gesturi, imagini, naraţiune sau chiar în ceea ce rămâne nespus. Literatura auto/biografică (life-writing, unde includem şi materiale de arhivă, fotografice şi corespondenţă) a oferit un instrument major de acces, reansamblare şi conferire de sens acestor istorii în spaţiul Istoriei.  Numărul e interesat de descifrarea „reminiscenţelor comunicative ale traumei şi rezistenţei” (communicative legacies of trauma and resilience, Hannah Klieger, în Mitroiu 2018), relaţia dintre memorie şi istorie (Radstone & Hodgkin 2003), dar şi dintre mărturie şi literatură (Felman & Laub 1992, van der Heiden 2019). Impactul contextului local asupra formei (Mrozik & Tippner 2021) a modelat categoriile subsumate life-writing-ului, oferind un nou unghi pentru formularea teoriilor inovatoare asupra dezvoltării genului. Ne interesează articole care să pună accentul pe contextul local şi regional dar şi pe specificul mediului politic, social şi cultural care au influenţat literatura auto/biografică feminină.
Vă invităm să trimiteţi articole legate de următoarele teme şi nu numai:

  • Valoarea mărturiei, rezistenţei şi supravieţuirii înliteratura auto/biografică feminină, bioficţiune şi autoficţiune în relaţie cu traume istorice.
  • Rolul literaturii, dar şi al genurilor hibride (relatări auto/biografice incluzând fotografia şi artele vizuale), în recuperarea experienţelor feminine est şi sud-est europene în secolul XX, dar şi în practici de post-memorie în documentele contemporane.
  • Politică, mişcări de emancipare şi retrograde: origini în cadrul secolului al XIX-lea. Marxismul şi Războiul Rece.
  • Implicarea femeilor din estul şi sud-estul Europei în mişcările politice (de dreapta sau stânga, incluzând aderenţa la grupările extremiste) şi, unde a fost cazul, reprimarea şi trauma care au rezultat din acestea, aşa cum apar prezentate în diverse medii artistice.
  • Impactul celor Două Războaie Mondiale şi al Războiului Rece precum şi al represiunii şi cenzurii comuniste şi fasciste asupra evoluţiei genului auto/biografic şi chestiunii memoriei.
  • Corpul ca spaţiu de manifestare al traumei, recuperării şi mărturiei în scriitura auto/biografică, reflectând atrocităţile secolului XX.
  • Tranziţia de la martor afectat de evenimente (martus) la martor ca autor al relatării (auctor) în scriitura auto/biografică.
  • Stabilirea de conexiuni şi trasee transnaţionale ale memoriei în scriitura auto/biografică feminină est şi sud-est europeană.
  • Identităţi conflictuale ale descendenţilor şi apropiaţilor victimelor, dar şi ale celor care au perpetuat trauma istorică

Contribuţiile pot fi trimise pe adresele editorilor acestui număr tematic după cum urmează:

Termene-limită:

  • Rezumate (aprox. 300 de cuvinte): 10 februarie 2022.
  • Lucrări acceptate (8000-9000 cuvinte): 30 iunie 2022.
Bibliografie:
Felman, Shoshana, and Laub, Dori. Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History. New York & London: Routledge, 1992.
Hirsch, Marianne. Family Frames: Photography, Narrative, and Postmemory. Cambridge, MA & London: Harvard University Press, 1997.
Hirsch, Marianne. The Generation of Postmemory: Writing and Visual Culture After the Holocaust. New York: Columbia University Press, 2012.
Mitroiu, Simona (ed.). Women’s Narratives and the Postmemory of Displacement in Central and Eastern Europe. Cham: Palgrave, 2018.
Mrozik, Agnieszka, and Tippner, Anja. “Remembering Late Socialism in Autobiographical Novels and Autofictions from Central and Eastern Europe: Introduction”. European Journal of Life Writing. Vol 10, 2021, pp. 1-14.
Pető, Andrea. The Women of the Arrow Cross Party: Invisible Hungarian Perpetrators in the Second World War. Cham: Palgrave, 2020.
Radstone, Susannah, and Hodgkin, Katharine. Regimes of Memory. London & New York: Routledge, 2003.
Rowbotham, Sheila. A Century of Women: The History of Women in Britain and the United States. London: Viking, 1997.
Schwab, Gabrielle. Haunting Legacies: Violent Histories and Transgenerational Trauma. New York: Columbia University Press, 2010.
Schwartz, Matthias, Weller, Nina, and Winkel, Heike. After Memory: World War II in Contemporary Eastern European Literatures. Berlin/ Boston: De Gruyter, 2021.
Van der Heiden, Gert-Jan. The Voice of Misery: A Continental Philosophy of Testimony. New York: SUNY Press, 2019.
 

*

Intimate Politics in Anglophone Women’s Writing

(University of Paris-Nanterre, 23-24 September 2022)

An international conference organized by FAAAM (CREA, EA 370)

In nineteenth-century romantic literature, especially poetry and personal writings, the notion of intimacy was understood as springing from the depths of an individual, untainted by cultural forces (hence closer to nature). Yet, as a number of studies have shown—most notably Foucault—intimate relationships are the product of social power structures deriving from a patriarchal gender hierarchy and reinforced by class and ethnic divides. The second-wave feminist slogan, “the personal is political,” coined by Carol Hanisch in 1969, drew our attention to the fact that aspects of women’s lives—housework, sex, familial relationships, etc. —were shaped by broader forces. We therefore invite scholars to examine “the personal is political” in all forms of women’s writings in English.

In Cold Intimacies: The Making of Emotional Capitalism (2007), Eva Illouz argues that the gender divisions that replicate the public and private spheres as well as divisions of labor are also based on emotions, without which men and women would not reproduce their roles and identities. An intense emotional culture participated in the development of capitalism. Twentieth-century America in particular witnessed the invasion of the public sphere by (Freudian) therapeutic discourse while, on the other hand, the private sphere was invaded by economic discourse. Thus, the private sphere of emotions was subjected to intense rationalization.

Furthermore, the multiplicity of sexual and gender expressions in the twenty-first century challenges normative assumptions of intimacy that privilege heterosexual relationships and the biological family unit, consider binary cisgender identities as given, and view sexual or romantic desire as the only ground for developing intimate relationships.

We invite participants to submit proposals treating the following themes:

1) The disclosure of intimacy as a double-edged sword for women in patriarchal cultures: empowerment, emancipation, but also increased vulnerability/exposure, backlash, commodification of intimacy. The #Metoo movement has considerably amplified the risks and benefits of disclosure. Women’s personal writings are especially subjected to this double bind.

What definitions of intimacy do women’s writings offer? How are the paradoxes of intimacy interwoven in women’s writings, negotiated within the constraints of gender, ethnicity and class? How can women writers represent the experience of intimacy (between resistance to disclosure and the need/desire to recount)? What innovative narratives of intimacy do queer identities give birth to?

2) Intimate spaces: one of the ways in which we experience and conceptualize intimacy is through space (public and private spheres, and so on). Intimate relationships involve ideas of proximity and distance. Moreover, intimacy creates space. Historically, the birth of a private, intimate culture in the eighteenth century correlates with the transformation of the private abode: beds began to be relocated to more private rooms, and separate spaces for hygiene were created, to name but a few changes. Just as social spaces are ideologically constructed so that they reproduce gender divisions and roles, so too are intimate spaces. Thus, home has been considered as the female domain because of the representation of women as carers/nurturers. This representation conceals power relationships, and the fact that intimate spaces, like any other space, are heterogeneous and precarious (Rose 1993). Investing women with the role of carer/nurturer grew out of their capacity to reproduce, the uterine space being a site of much conflict and contention. Perceived as the presumed source of hysteria, of women’s assumed propensity for the domestic (Erikson’s inner space) and of the promise/threat of maternity, also described as the cave of the lost Sibyl in Mary Shelley’s introduction to The Last Man (1826), the uterus is often used as a metaphor for literary gestation. The body, and particularly the female body, with its convex and concave forms, its recesses and enclosed spaces, is often associated with the private and the intimate. As Gilbert and Gubar have pointed out, spatial imagery of enclosure and escape has characterized much writing by women (Madwoman 1979: 83, 85). From Charlotte Perkins Gilman (Yellow Wallpaper, 1892) to Margaret Atwood (The Handmaid’s Tale, 1985), heroines have been restricted to rooms and roles. For female artists, the presence or absence of intimate spaces has affected their creative output, as Virginia Woolf powerfully demonstrated in A Room of One’s Own. Because of the elusive nature of spatial intimacy, women writers have sometimes imagined utopian/dystopian worlds to represent it. In Rokeya Sakhawat Hossain’s feminist utopia, Sultana’s Dream, women rule the world as society lives peacefully and prospers through their inventions of solar ovens, flying cars, and cloud condensers, which offer abundant, clean water to the population of “Ladyland.” And the men, who are deemed “fit for nothing,” are shut inside their homes. Participants may also question the role of virtual spaces in favoring/impeding intimacy.

3) Narrative intimacy: According to Lauren Berlant, the concept of intimacy rests upon the development of a story and a narrative. As the reader is not passive in the construction of meaning, reading can be viewed as an intimate experience. Creating and entering a relationship with a reader is sometimes a very strong motivation behind the act of writing—Ruth Ozeki has spoken of writing “embodied prose in order to elicit the same kinds of strong, physical, emotional responses, from the reader” (“Literature is a Kind of Mirror,” 2016). On the poetic side, in milk and honey (2014) and the sun and her flowers (2017), the “instapoet” rupi kaur devised a poetic space combining text and image to recreate personal experiences of – occasionally traumatic – intimacy, which readers have shared and responded to. What kinds of “engagement” (Rita Felski 2008) can occur and develop throughout the reading process and beyond it? To what extent is intimacy created by narrative techniques? What issues of power are at play between (female) author and reader/public? What narrative voices shape intimacy? Participants may also examine experimental, genre-defying works that women have used to turn intimacy and emotion into political concerns.

Genres to consider: theatre, poetry, personal writings (diaries, letters, memoirs), first person novels, autofiction, science fiction, epistolary novels, experimental, genre-defying works, prison narratives….

Please send a 300-400-word abstract (for a 20-minute presentation followed by 10 minutes of question/discussion) with a short bio-bibliography to: faaam.nanterre@gmail.com

 FAAAM (Femmes Auteurs Anglo-AMéricaines) is a research seminar whose members share an interest in women’s writing and gender. We have published, in the wake of our two previous conferences,

Women’s Life Writing and the Practice of Reading (Palgrave Macmillan 2018)

https://link.springer.com/book/9783319752464

Text and Image in Women’s Life Writing: Picturing the Female Self (Palgrave Macmillan, 2021)

https://link.springer.com/book/9783030848743


Deadline for submissions: February 28th, 2022

Notification of acceptance: March 31st, 2022


Language of the conference: English

 Organizing and Scientific Committee:

Claire Bazin (Université Paris-Nanterre), Nicoleta Alexoae-Zagni (Université Paris 8 Vincennes-Saint-Denis), Valérie Baisnée (Université Paris-Saclay), Corinne Bigot (Université Toulouse – Jean-Jaurès), Stephanie Genty (Université d’Évry-Paris/Saclay), Nathalie Saudo-Welby (Université de Picardie Jules Verne)

Select bibliography:

Berlant, Lauren, Ed. Intimacy. Chicago: University of Chicago Press, 2000.

Boling, Patricia. Privacy and the Politics of Intimate Life. Cornell UP 1996.

Cooke, Jennifer, Ed. Scenes of Intimacy: Reading, Writing and Theorizing Contemporary Literature. London, New York: Bloomsbury, 2013.  

Dimen, Muriel. Sexuality, Intimacy, Power. Hillsdale, NJ: The Analytic Press, 2003.

Felski, Rita. Uses of Literature. Malden, MA & Oxford: Blackwell Publishing Ltd, 2008.

Foucault, Michel. The History of Sexuality: An Introduction, tr. Robert Hurley (Histoire de la sexualité, vol. 1, 1976; New York: Random House, 1978).

Illouz, Eva. Cold Intimacies: The Making of Emotional Capitalism. Cambridge, UK: Polity Press, 2007.

Miguel, Christina. Personal Relationships and Intimacy in the Age of Social Media. Palgrave, 2018.

Rose, Gillian. Feminism & Geography: The Limits of Geographical Knowledge. University of Minnesota Press, 1993.

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Deadline for Submissions February 28, 2022

CFP: Domestic Goods: Silence speaks in our interiors, objects, clothing, and keepsakes. (Italian-Canadian perspectives)

CANADIAN ASSOCIATION OF ITALIAN STUDIES

June 2- 5, 2022 Annual Conference

https://canadianassociationforitalianstudies.org/

What items do we cherish? Which items do we pass on? Typically, an inheritance item may be attached to a monetary value. What if the object’s value is more in the form of palpable memory? Can the mundane domestic goods of a pot or colander speak of a mother, or the alarm clock speak of a father? What resonates in the prosaic realm? This session will draw on autotopography (Gonzalez), the archive (Derrida), vibrant matter (Bennett), atmospheric attunements (Stewart) and thing theory (Brown).

What domestic goods speak to the heirs of Italian immigrants? How can we speak of intersectional identities in Italian immigrants’ children, grandchildren, and great children? The session will call upon the first (1900-1918), second (1950-1970) and third (1980-onwards) waves of Italian immigrants to Canada.

The goals of this session are to:

  1. Welcome papers addressing themes surrounding domesticity, domestic goods, and the archive,  
  2. Create a network of scholars and community members interested in intersectional identity, memory, interiors, objects, clothing and keepsakes and to, 
  3. Produce a visually creative anthology of domestic goods and narratives and to,
  4. To support a Call for Papers, for a possible publication in a special issue of the journal Italian Canadiana, University of Toronto.  

If you are interested in participating, please send a 350- word abstract and short bio before February 28, 2022:

Lorella Di Cintio, PhD

Ryerson University (renaming in progress)

Toronto, Ontario, CANADA

Email: ldicintio@ryerson.ca

Edited volume: Narratives of Gendered Abuse in Academia

CALL FOR ABSTRACTS

Editors: Professor Mary K. Holland, SUNY New Paltz, and Professor Carrie Rohman, Lafayette College

Deadline to submit abstract: April 1, 2022

The popularity of the Netflix Series The Chair seems to be tied to its hyperbolic depictions of faintly legitimate power struggles that circulate on contemporary college campuses. But in focusing on the slapstick character Bill Dobson (male, white, hopelessly romantic), the narrative offers a political feint that distracts from actual abuses of power in academic life, abuses that are often misogynistic. While the #MeToo movement as a cultural, feminist, and antiracist force has been slowly and steadily uncovering and altering landscapes of gendered harassment and abuse across our society, academia itself as an abusive culture has remained fairly immune to these critiques. Scholars such as Sarah Ahmed have forcefully critiqued academic culture, helping us begin to theorize its endemic harassment and abuse. It is perhaps all too telling that Ahmed herself resigned from academia years ago, in protest over university failures around sexual harassment and assault. And so, one of our greatest critics of academia is no longer part of the academic system proper.

In her 1938 Three Guineas, Virginia Woolf repeatedly asks us to consider what it will mean for women to follow their educated brothers into the professions: “It is true that for the past twenty years we have been admitted to the Civil Service and to the Bar; but our position there is still very precarious and our authority of the slightest” (12). Nearly one hundred years later, this sentiment still resonates. Woolf was more than prescient in warning women about what they would face as they joined the ranks of patriarchal institutions. Our contemporary failures to confront the institutional violences that continue to be reproduced within our profession— that we could argue continue to be central to our profession— exacerbate her prophecies all the more.   

The 2015 book Women Who Make a Fuss: The Unfaithful Daughters of Virginia Woolf, written by Isabelle Stengers and Vinciane Despret and a collective of academic women, takes up Woolf’s injunction, “think we must,” in order to ask if women in academia have changed the form of thought in their respective fields. While the primary authors make it clear that experiences of gendered “discrimination” are not precisely the centerpiece of their project, the disillusioning realities of being a female academic inevitably seep into their powerful volume. Stengers and Despret highlight the entrapments of academic life, explaining, “we are among those women who have been where Woolf said we must not go, or in any case, not stay, for staying there, seeking to make a career in the university, is to be captured by it (for both young men and women)” (52). As their incorporation of multiple female voices reveals, “once you are inside, they will look for ways to devitalize you” (Sironi qtd. in Stengers and Despret 103).

This edited collection will document narratives of gendered abuse and disadvantage in academia, in order to bear witness to the ways that women, and all whose gender expression falls outside heteronormative masculinity, are devitalized in higher education. We are interested in the power of memoir becoming “anonymous,” in the circulating of anecdote as feminist documentation, and in the idea that the personal is political, theoretical, and professional. The collection will also ask after the ways that academic institutions replicate the kinds of gendered abuses that individuals experience in other forms of relationship, such as partner abuse, abuse in marriage, and abuse in family structures, alongside the failures of various therapeutic models in these analogous scenarios.

The co-editors aim to reimagine the academic editorial process along feminist lines for this project, which will likely involve more communal forms of writing and re-writing than what is standard practice. For instance, we may orchestrate occasional virtual meetings among contributors, as we hope the project will function in the spirit of scholarly, activist, and advocacy frameworks.            

Thus, we seek first-person accounts of all varieties of gendered abuse, harassment, and/or discrimination as experienced by women and LGBTQ individuals in academia. We welcome narratives

  • from all academic disciplines;
  • from any size or type of academic institution;
  • from academics at all career stages, from graduate students to senior scholars;
  • about all kinds of gendered abuse, including but not limited to sexual;
  • about events that occurred across multiple years of individuals’ careers, or singular potent events;
  • that focus entirely on personal narrative, and/or that incorporate relevant studies or theory;
  • from writers who want to attach their names to their pieces and those who wish to remain anonymous.

Please submit your 500-750 word abstract, brief c.v., and contact information to both volume editors (hollandmkh@newpaltz.edu and rohmanc@lafayette.edu) by April 1, 2022. And spread the word to friends and colleagues who might have their own stories to tell.

Mary K. Holland specializes in contemporary literature, theory, and women’s writing at SUNY New Paltz. Her most recent book is #MeToo and Literary Studies: Reading, Writing, and Teaching about Sexual Violence and Rape Culture (co-edited with Heather Hewett; Bloomsbury 2021). She is also the author of two monographs on contemporary lit (Bloomsbury, 2013 and 2020) and co-editor of an MLA volume in the Approaches to Teaching World Literature series (2019).

Carrie Rohman works in animal studies, critical theory, modernism, and performance studies at Lafayette College. Her plenary address at the 2021 Annual International Conference on Virginia Woolf examined gendered abuse in academia. Rohman contributed to the “#MeToo and Modernism” cluster in Modernism/modernity (2020) and is Associate Editor at Contemporary Women’s Writing. Her most recent book is Choreographies of the Living: Bioaesthetics in Literature, Art, and Performance (Oxford 2018).

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Unending Translation: Creative Critical Experiments in Translation and Life Writing

Deadline for abstract proposals: April 15th, 2022

Publisher: UCL Press (tbc)

The aim of this collected edition is to explore different approaches to translation criticism through the medium of life writing. Traditionally assigned to the paratextual, the translator’s point of view rarely occupies the narrative centre of creative writing and essays. In recent years, however, contemporary translators have taken on a more prominent role in translation criticism, exploring their practice through the medium of memoirs and experimental essays allowing for fragmentation, doubt and openness to be expressed in subjective modes of writing. The translational turn to life writing and the essay can be interpreted as a challenge to the separation between practice and theory which traditionally exists in translation studies. On the one hand, the meeting between translation and life writing can be seen as an attempt to rethink autobiographical forms, reinventing the terms within which we create, shape and think the category of the subject through literature. On the other, creative-critical experiments in essay writing and translation have allowed for a more embodied and situated critical engagement with translation, an opportunity to explore translation as a practice-led thinking of texts and writing in their own right. The meeting between translation and life writing thus shifts our literary focus from thinking about the essence of individual works to thinking about translation as a space of subjective and material entanglement, a practice capable of re-imagining relations not only between cultures but between the traditionally opposed practices of reading and writing, thinking and doing.

In this collected monograph, we ask and call for translators, writers, teachers and critics to approach translation practice from such an embodied, situated position. What happens when translation meets life writing? But also, what happens when translation shapes the essay as a form, and when the essay in its turn continues translation? What happens, in other words, when translation practice becomes the subject rather than the object of literary introspection? How can life writing accounts of translation make us rethink our understanding of the relationship between translation and politics, translation and life?

We welcome experimental essays and life writing experiments, for example: 

– Stories of a translator’s personal experience that narrate the interpretive experience as a writerly one.

– Experimental approaches to translation that rewrite a text through the translator’s engagement with it, or perhaps weave together different types of text, playing with form.

– Reflections on the subject position and voice of the translator, both as a lived experience but also as a politically situated one that is enjoined to tackle on the one hand the appropriative gesture of translation and on the other, the marginalised, secondary position that translation takes in traditional binaries of original/translation.

– Writings that play on the form of the translator’s commentary, responding to the traditional forms of translator prefaces, footnotes etc.

– Essays that multiply translational variants through a collection of hybrid approaches.

– Translations where the figure of the author is translated into the figure of the translator

– Stories of translation that give unique openings onto texts, for example through the interweaving of translation and commentary in the translation of genetic material (manuscripts, authorial marginalia, intertexts etc.)

– Writings that explore translation as fiction, in the sense given by Kate Briggs as an invitation to suspend one’s disbelief, to enter the foreign as though it is familiar, but also that tell a story of the time and place of the translating figure.

– Writings that visibilise the translator’s voice but their process and technique, challenging the injunction to produce a unitary, sole text as a finished product to be sellable.

– Translator writings that reflect upon political and identity dynamics such as feminist translation or decolonial practices. Reflections on the specificity of translating minority, regional, non-standardized or non-national languages are also welcome here.

– Heterolingual experiences that mix languages, texts, translations and originals and deterritorialize the attachment of languages to nation states.

Bibliography

C. Bergvall (2016) Drift. Brooklyn, Nightboat.

K. Briggs (2018) This Little Art. London, Fitzcarraldo Editions.

B. Brown (2011) The Poems of Gaius Valerius Catullus. San Francisco, CA, Krupskaya.

                  – (2012) Flowering Mall. Berkeley, Roof.

J. Butler. (2019) ‘Gender in Translation: Beyond Monolingualism’, Philosophia. Albany, N.Y. Vol.9 (1), pp.1-25.

A. Carson (2009) Nox. NYC, New Directions.

S. Collins (2016) Currently & Emotion.Londres, Test Centre.

M. Gansel (2017) Translation as Transhumance, trans. by Ros Schwartz. London, Les Fugitives

D. Grass (2021) ‘Translating the Archives: An Autotheoretical Experiment’, in Thinking Through Relation: Encounters in Creative Critical Writing. ed. by Florian Mussgnug, Mathelinda Nabugodi and Thea Petrou. London, Peter Lang.

T. Hermans (1996) ‘The Translator’s Voice in Translated Narrative’, in Target. International Journal of Translation Studies. Vol.8 (1), pp. 23-48.

C. Gepner (2019) Traduire ou perdre pied. Paris, Contre-allée. 

N. Grunwald (2021) Sur les bouts de la langue: traduire en féministe/s. Paris: Contre-allée.

S. Kadiu (2019) Reflexive Translation Studies: Translation as Critical Reflection. London, UCL Press.

​​J. Lahiri (2016) In Other Words. New York, Knopf. 

S. De Lotbinière-Harwood (1991) Re-belle et infidèle, la traduction comme réecriture au féminin; the Body Bilingual, translation as rewriting in the feminine. Québec, Les Editions du remue-ménage/Women’s Press.

E. Mouré (2004) Sheep’s Vigil by a Fervent Person: A transelation of Alberto Caeiro/Fernando Pessoa’s Oguardador de rebanhos. Toronto,House of Anansi Press.

                  – (2014) Secession with Incession. Montréal, Book Thug.

J. Osman & J. Spahr (eds.) (2003) Chain 10: Translucinación. Philadelphia, PA, Temple University Press.

N. Ramayya (2019) States of the Body Produced by Love, Ignota Books.

L. Robert-Foley (2013) m. Luxembourg, Corrupt Press.

C. Rossi (2018) ‘Translation as a Creative Force’, The Routledge Handbook of Translation and Culture, ed. by Sue Ann Harding. London, Routledge.

M. de la Torre (2020) Repetition Nineteen. New York, Nightboat Books.

C. Wright (2013) Yoko Tawada’s Portrait of a Tongue. Ottawa, University of Ottawa Press.

Timeline:

Deadline for abstract proposals: April 15th, 2022

Response to proposals: May 15th, 2022

Completed articles due: October 15th Delphine Grass/Lancaster University, Lily Robert-Foley / Université Paul Valéry Montpellier 3   contact email:  lily.robert-foley@univ-montp3.fr

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Deadline for Submissions April 30, 2022

“Narrating Lives”: International Conference on Storytelling, (Auto)Biography and (Auto)Ethnography
27-28 August 2022 – London/Online
organised online by
London Centre for Interdisciplinary Research
 
Life-history approach occupies the central place in conducting and producing  (auto)biographical and (auto)ethnographic studies through the understanding of self, other, and culture. We construct and develop conceptions and practices by engaging with memory through narrative, in order to negotiate ambivalences and uncertainties of the world and to represent (often traumatic) experiences.
The “Narrating Lives” conference will focus on reading and interpreting (auto)biographical texts and methods across the humanities, social sciences, and visual and performing arts. It will analyse theoretical and practical approaches to life writing and the components of (auto)biographical acts, including memory, experience, identity, embodiment, space, and agency. We will attempt to identify key concerns and considerations that led to the development of the methods and to outline the purposes and ethics of (auto)biographical and (auto)ethnographic research.

We aim to explore a variety of techniques for gathering data on the self-from diaries to interviews to social media and to promote understanding of multicultural others, qualitative inquiry, and narrative writing.
Conference panels will be related, but not limited, to:

  • Life Narrative in Historical Perspective
  • Qualitative Research Methods
  • Oral History, Memory and Written Tradition
  • Journalism and Literary Studies
  • Creative Writing and Performing Arts
  • (Auto)Biographical Element in Film Studies, Media and Communication
  • Psychoanalysis and Psychotherapy
  • Storytelling in Education
  • Ethics and Politics of Research

Submissions may be proposed in various formats, including:

  • Individually submitted papers (organised into panels by the committee)
  • Panels (3-4 individual papers)
  • Posters

Proposals should be sent by 30 April 2022 to: life-history@lcir.co.uk. To download the paper proposal form and find out more about the latest deadline, please visit our website: https://life-history.lcir.co.uk/.
Please download Paper proposal form.
Registration fee (online participation) – 90 GBP 
Registration fee (physical participation) – TBC
Selected papers will be published in a post-conference volume with ISBN.

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Deadline for Submissions April 30, 2022

Announcement: Call-for-Papers:

This is a slightly revised call.
This call is for abstract submissions for an international edited collection entitled Taking Control: critical and creative uses of digital tools in screen, literature, graphic texts, and visual culture narratives.

Currently I am seeking a number of academics and professionals in the field who might like to send me an abstract for consideration for inclusion in the book.
 
Due to the coronavirus pandemic, we have extended the deadline date for abstracts.

Abstracts now due: 30 April 2022.

The aim of Taking Control is to highlight the human-AI (think computer) blend in creativity as a vibrant inter- and multidisciplinary area where we urgently need better understanding and clear parameters to judge success and failure.
Taking Control seeks to examine the current uses, and the potential for expansion and extension, and possible future uses of AI in relation to screen and literature, including e-books and electronic literature genres and graphic texts, and visual culture narratives; as well as the little explored angles of cultural criticism and cultural meaning in those human-AI (computer) assisted productions.

 

  • expand the range of imaginative invention through new techniques and themes;
  • challenge the audience’s perception of the boundary between human and machine;
  • introduce entirely new genres and modes;
  • reach audiences in new ways born of big-data studies of human cognition;
  • provide new immersive interactivity for audiences;
  • include perspectives from a vastly increased range of groups and individuals globally; and
  • eliminate the limitations of included content based on the cognitive capacities of the human creative team and analogue physical formats.

Potential contributions in relation to critical and interpretative methods include, but are not limited to, how the use of AI and machine learning may:

  • allow entirely new insights, especially into large collections of creative works;
  • provide models of the reception of creative works in audiences, which can be interrogated to test theories of how creative works have their impact, at levels down to the subliminal; and

lead to new hypotheses about works of art based on multiple overlapping layers of context in time, space, other works in the same and different genres, cultures, and physical and mental environments.
Technology can be misused; yet in the human-AI (computer) blend humans have the power to intervene. In these interactions, there is the potential to take things to a different level. The power of the human, the ability to think differently, and critically and creatively, together with the technical abilities of the computer for holding, sorting, and providing masses of big data, hold out the possibility of expanded human creativity. When you use the computer, and choose and use information fairly, it makes the outcome compelling and accurate. AI affects what people look for, what they enter into the computer and how they respond, and what that reveals and changes about the people can affect our societies and cultures. Wherever you add questions about our environment, for instance, AI it sharpens it so we can relate to it.  Thus, how it relates to the human experience, to our world, and human society, much depends on how we manage it, where we take it and what we do with it.

Questions remain: In what ways can human-AI (computer) assisted treatment and examination of screen, literature, graphic texts  and visual culture narratives expand, grow, and bring deeper understanding of ourselves, our worlds, our environment, our culture and society, and bring about change?  How do these works address cultural criticism, and social and cultural meanings, and add to our understanding of our cultures and society? What is the potential for exploring human experience and that connect to our world, and the possible import of these productions for the future? Admittedly, there are differing views and opinions on the future of AI (the computer). Some think an Artificial General Intelligence can or has the potential to exist independently of human input, and others think not—that artificial intelligence requires human input, control, and computer skills. What does all this mean for our future society and culture?  
At this initial stage, in lieu of “chapters,” this proposed work, Taking Control, is taking extended abstracts for consideration for inclusion in the book.
Submission instructions:

  1. The extended abstracts must be more than 1,000 and less than 1,700 words.

(Full-length chapters of approximately 7,000 words each will be solicited from these abstracts.)

  1. Please keep in mind that your essay-chapter will stem from your extended abstract. Your abstract will carry the same title as your essay-chapter.
  2. Abstracts must be in English, and submitted as a Word document.
  3. When writing your abstract use Times New Roman point 12, and 1.5 spacing.
  4. At the beginning of your extended abstract, immediately after the title of your work and your name, add 5 to 8 keywords that best relate to your work.
  5. Use the Chicago Manual of Style 16th Edition.
  6. Use English spelling not American English spelling.
  7. Use endnotes, not footnotes, use counting numbers not Roman numerals, and keep the endnotes to a bare minimum, working the information into the text where possible.
  8. Do cite all your work in your extended abstract as you would in a full chapter.

a) in the body of the abstract, add parenthetical in-text citations (family name of author and year, and page number/s) (e.g. Smith 2019, 230);
b) fully reference all in-text citations in alphabetical order, in the References list at the end of your abstract.
      10.  Please send your abstract and your documents as attachments to an email. At the same time as
submitting your extended abstract, in separate documents please send the following:

  • Your covering letter, giving your academic title/s, affiliation, your position, and your home and telephone, and email contact details;
  • A short bio of no more than 200 words;
  • Your C.V., giving your publications to date, and the publishing details and dates.

Papers should be forwarded to:
Jo Parnell Jo.Parnell@newcastle.edu.au  alternatively annette.parnell@newcastle.edu.au  or joandbobparnell@bigpond.com
Dr Jo Parnell. PHD. | Honorary Lecturer
School of Humanities and Social Science
College of Human and Social Futures
M: +61 (0)421 993 253
E: Jo.Parnell@newcastle.edu.au
W: newcastle.edu.au/profile/Jo-Parnell 
International author and editor  
Latest books:
Representation of the Mother-in-Law in literature, film, drama, and television (Lexington Books USA, 2018).
New and Experimental Approaches to Writing Lives (Macmillan International Higher Education, Red Globe Press, 2019).
The Bride in the Cultural Imagination: Screen, Stage, and Literary Productions (Lexington Books USA, 2020).
Taking Control: critical and creative uses of digital tools in screen, literature, graphic texts, and visual culture narratives. (Palgrave Macmillan, forthcoming 2022/23).
Writing Australian History on Screen: television and film period dramas “down under,” with Julie Anne Taddeo (Lexington Books, USA, forthcoming 2022).
Cultural Representations of the Second Wife: Literature, Stage, and Screen (Lexington Books, USA, forthcoming 2022).
The University of Newcastle
University Drive, Callaghan NSW 2308 Australia

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Deadline for Submissions June 20, 2022

Autobiography: a matter of geometry?XXI International Symposium of the Scientific Observatoryfor Written, Oral and Iconographic Autobiographical Memory, organized by: Mediapolis.Europa, cultural association http://mediapoliseuropa.com/ and Mnemosyne, o la costruzione del senso, Presses universitaires de Louvain https://pul.uclouvain.be/review/Rome (Italy), 2, 3, 4 November 2022  

This call for papers aims to invite proposals that examine the relationship between a subject who narrates him/herself and the spatial dimension. This is not about seeing oneself in space, or casting a glance on space, but presenting oneself through a mental space. The subject can choose an omniscient or a partial vision, can interpose obstacles by asking questions on his/her identity, can find a way of observing him/herself from the outside. This call for papers intends to consider not fictional works but rather autobiographical ones. Under the register of fiction, the category of space has in fact many points of reference that can be inscribed into defined pathways: think of the themes of wandering, nomadic thought, utopia (u-topos: non-place), Foucault’s discourse on heterotopia, Kafka’s vision, and much more. The autobiographical pact, which remains a fixed point, obliges one to take existential responsibility as a single focal point. (Ph. Lejeune, 1975). In archaic Latin, the word existence means exsistere, ex + sistere. According to the Enciclopedia Treccani, in the language of philosophy, it is the state of every reality as it is, or, specifically, the state of a reality that can be the object of a sensory experience. In our case, this means that the subject that recounts his/her own existence chooses a place in which to situate, envision, project, pro-ject him/herself. For those who engage in their own autobiography, the complexity lies in being able to avail of an external eye. In Life of Hernri Brulard, Stendhal writes: “… what eye can see itself?”
At the beginning of the 20th century, the expression biography of self underscores the distancing taken by the writer from him/herself. Dostoevsky talks about self-accounting regarding his novel The Double (1846).
In the past fifty years, many video artists have focused their research on the use of video as an external eye. They have intended to contrast the vision that, beginning from the Renaissance, had wanted to objectivise space; according to Christine Van Assche, the point of view of the spectator [N.B.: stimulated by some work of video art] is no longer the single and unperturbed point of view of the observer of Brunelleschi’s ‘tablet’; it is already perturbed, unstable, moving, but inevitably, physically, psychologically, and intellectually active. Van Assche refers to Rosalind Krauss’ essay The Aesthetics of Narcissism (1976). On this matter, see also issue n. 48 (1988) of Communication. The theme of defining the subject’s mental space is at the heart of a significant part of contemporary art and particularly video art.   The longitude and latitude of the self
‘Super-ego, subconscious, to emerge, to remove’ are words that highlight the subject’s vertical position in space. Psychoanalysis has given prominence to this geometry of the psyche. Freud compares memory to the stratification of Roman excavations, an archaeology of memory (Civilization and Its Discontents [1930]).
The subject’s relationship to space is one of the dominant themes, the very focal point, of existentialism, which, beginning with Kierkegaard, crosses our contemporaneity. In the chapter “The subjective truth, inwardness; truth is subjectivity” in Concluding Unscientific Postscript to the Philosophical Crumbs (2009 [1846]), Kierkegaard places inwardness at the centre, which is a choice, a path, a posture, a centripetal movement. Even supposing an objective reality, to give a meaning to our cosmos, to our cosmoi, everything then returns to subjectivity: “for as Hamlet says, existence and non-existence have only subjective significance.” (2009 [1846], p. 163). The I = I (which comes from Fichte), is a constant in Kierkegaard’s thinking, which connects the subject’s identity to a permanent inward movement.  The Swiss psychiatrist Binswanger (1881-1966), defines Kierkegaard’s conception as ‘passion of inwardness’, meaning that one can assume oneself only beginning from within oneself. As already said, Kierkegaard insists upon the term ‘existence’ by underscoring how the self and only the self is in its isolation, in its being acontextual, it can determine itself by leaving external interferences at the margins. Little by little, Binswanger, a staunch follower of Kirkegaard, will come to Heidegger. Observing patients’ language and behaviour, he examines the “basic forms and perception of human Dasein” (1942), noting the importance of space in the vision that patients have of themselves. Binswanger observes that, in order to describe themselves, patients closely connect bodily sensitivity and affectivity to space. Thus Binswanger orients himself towards a method that he calls Daseinsanalysis, a term that clearly refers to Heiddeger’s Dasein. Heidegger writes: “Space is not in the subject, nor is the world in space. Space is rather ‘in’ the world in so far as space has been disclosed by that Being-in-the-world which is constitutive of Dasein. Space is not to be found in the subject, nor does the subject observe the world ‘as if’ that world were in a space; but the ‘subject’ (Dasein), if well understood ontologically, is spatial.” (Being and Time, 1972 [1927], p.145, Paragraph 24, “Space and Dasein’s Spatiality”). This way of thinking about space will represent a change compared to all previous philosophy, and it will be only the beginning of a series of reflections on the subject-space relationship. Sartre, Merleu-Ponty, Camus will undertake to develop aspects that go beyond Heidegger’s ontological discourse.   The space of the subject in language  In childhood and in pathological psychic states, it is through awareness of space that one manifests oneself. In The Psychology of Intelligence, Jean Piaget explains that space is a primary category of consciousness in children’s thinking (1967).
“To bring back to earth” or “to be over the moon” are expressions of our Dasein, our existence. And even though myths and poetry allow us – through a universalizing metaphorical language – sensations, feelings, psychic experiences, the self nonetheless remains the original subject of what climbs or falls. (L. Binswanger 2012, p. 42). Binswanger, who starts from Heidegger, moves away from the latter’s ontological conception, which is his own, to immerse it in concrete cases. A whole vocabulary situates in space the acts of the patient’s dasein: vertiginous height, climbing, aerial altitude, the infinite, etc. (L. Binswanger 1971, pp. 237-245).   Some linguistic expressions reveal how the self situates itself in the space that it constantly places in relation to his/her own persona.
George Lakoff and Mark Johnson (2003 [1980]), in Metaphors We Live By (see paragraph “The ME-FIRST Orientation”], show how our way of recounting is modelled on a way of thinking in which the concept of up wins over that of down, front always precedes back, and here precedes there (Ibid., pp. 132-133). A whole cultural conception governs these forms of expression, in which the individual regards him/herself as at the epicentre in relation to the surrounding world that he/she modulates.
The order of words was studied by William E. Cooper and John Robert Ross, 1975, World Order.   The subject’s framing of the world  Man frames the world and frames himself in the world.
A metalanguage interprets the subject’s framing of the world, as Lotman writes. In particular, he talks about this in two essays on, respectively, the problem of artistic space in Gogol’s prose and the semiotics of cultural space, 1975 [1968]. The writing on Gogol constitutes an important methodological reference. The extremization of a longitudinal contextualization of existence is described by Borges in a paradoxical manner: “So complex is reality, and so fragmentary and simplified is history, that an omniscient observer could write an indefinite, almost infinite, number of biographies of a man, each emphasizing different facts; we would have to read many of them before we realized that the protagonist was the same”. (1974 [1943]. Borges highlights how, by longitudinally crossing a life, each time choosing only one aspect and ignoring the others, we would find ourself before many parallel lives of a single person. This reflection could be transposed as it is to autobiographical writing. Borges shows how fragile a linear description of existence is. In Lines–A brief history (2007), Tim Ingold calls ‘ghostly lines’ those that derive from abstractions and constitute points of reference in various cultures, especially the Western one. These lines have neither consistency nor colour (as a furrow in agriculture could be, for example). It is especially beginning from Euclid that the idea of the straight line dominates visual perception, from which geometric perspective will derive, which insists on presenting reality in a unidirectional manner. (2007, p. 159). Tim Ingold says that when we look at a starry sky, for example, we define the constellations of the stars by connecting them through abstract lines until we imagine structured figures. (Ibid., p. 49). This is completely normal in our Western vision. Moreover, the conviction that history is evolutionary has generated genealogical trees in which past generations, instead of being brought back to the roots, are placed on the branches. Instead of a lineage as it was in the representation of ancestors in ancient Rome, our Western civilization has created an upward progression, towards the future. (Ibid., pp. 104-109).   Lotman observes how, in the military field, front line is a watchword, an anticipatory geometry. And yet, those who experience war realize the difficulties in finding this vision, this geometry, in concrete experience. In the short autobiography Non-Memoirs (2001 [1994]) on the war years spent on different Soviet fronts, Lotman writes that it is difficult to write about war because only those who have never been to war know what it is. He argues that is like describing a huge space with no precise boundaries and no internal unity, pointing out that there is one war in winter and another in spring; one during retreat and another during defence and offence; one in the day and one at night; one in the infantry, another in the artillery, and a third one in the aviation; one for the soldier and another for the journalist arriving at the front. (Ibid., p. 50-51).
In other words, the meaning that the individual and the community attribute to space is the result of processes of mutual semantization.   Marginalia and opacity  Authors and writers can choose particular habitats to avoid situating themselves and being seen in spaces that are, so to speak, conventional. We consider only two examples: Edgar Allan Poe’s Marginalia and Rousseau’s Confessions as seen by Starobinski in his book La transparence et l’obstacle. At the beginning of Marginalia (1844), Edgar Allan Poe writes: “In getting my books, I have always been solicitous of an ample margin; this not so much through any love of the thing in itself, however agreeable, as for the facility it affords me of pencilling suggested thoughts, agreements and differences of opinion, or brief critical comments in general.” And further on: “In the marginalia, too, we talk only to ourselves; we therefore talk freshly – boldly – originally – with abandonment – without conceit”. [Bold is ours].
To put events into perspective also means to omit, to put aside spaces and aspects of one’s own life. Just as Starobinski highlights regarding Rousseau’s Confessions. It is possible to play with transparency (to see everything) and the obstacle. Starobinski calls this strategy Poppaea’s veil. Tacitus writes about Poppaea: “Her conversation was charming and her wit anything but dull. She professed virtue, while she practised laxity. Seldom did she appear in public, and it was always with her face partly veiled, either to disappoint men’s gaze or to set off her beauty.” Annals XIII, 45. Poppaea did not want to conceal herself, she wanted to be glimpsed. A painting by an unknown artist from the School of Fontainebleau (1550-1560), in the MAH Musée d’art et d’histoire, Geneva, 1839, shows Sabina Poppaea wrapped in gauze, in a falsely modest pose. Starobinski wrote a long introduction to L’oeil vivant (1961), “Le voile de Poppée”, in which he argues that it is possible to intentionally interpose obstacles to the space of communication with the other, pointing out that that which is hidden is the other face of a presence. He asserts that Poppaea’s veil, which is both an obstacle and an interposed sign, generates an alienated perfection that, through her own escape, demands to be retrieved through our desire. By virtue of the interdiction posed by the obstacle, he continues, there appears a whole depth that passes as essential. He goes on to argue that fascination emanates from a real presence that forces us to prefer what she dissimulates, the remoteness that she prevents us from understanding, at the very moment in which she offers herself. (Ibid., p. 10).
Starobinski’s subtle analysis takes into account our mental spaces, how they are constructed. Another important aspect concerns the influence on the construction of mental space due to circumstances less strictly subjective, so to speak: Foucault’s analysis of heterotopia (see Conference, 14 May 1967, Paris); the writings of Deleuze and Guattari on the concept of deterritorialization (1975) – ideas that allows us to understand the incidence of culture on the way of individually conceiving space.
In conclusion: if for Kierkegaard, come what may, introspection will never be a matter of geography, yet we know that conceiving oneself in space is certainly different for an American Indian, or an Eskimo, or a New Yorker. As Henri Lefèvre’s studies indicate, mental space does not correspond to either knowledge in space, or on space; that is, mental space is not external to the subject (1968). And yet, this individuality of mental space, as Lefèvre illustrates, is the long-term result of our interaction with the world and exposure to the universe, to the semiosphere, in which we find ourself living.   Bibliographic references  -Beatrice Barbalato, 2018, “Le ‘FRONT’ sémantique de Non-memorie de Lotman”, 61-77. in (ed.) Cathérine Gravet, and al., with Serge Deruette, Pierre Gillis, Katherine Rondou, Cahiers Internationaux de Symbolisme, n. 149-150-151.
-Raymond Bellour, Anne Marie Duguet, (dir.), 1988, Vidéo, Communication n. 48.
-Ludwig Binswanger, 1942, Grundformen und Erkenntnis menschliche Daseins, Zurich, Niehans.
Introduction à l’analyse existentielle, 1971, translated from the German by J. Verdeaux and Roland Kuhn, preface by R. Kuhn and Henri Maldiney.
Rêve et existence, 2012 [1930], translation and introduction by Françoise Dastur, afterword by E. Basso, Paris, Vrin.
-Caterina Borelli, 2018, «The House He Built : autobiografia in una casa», in B. Barbalato (dir.), Auto/biographie, polyphonie, plurivocalité, Mnemosyne n. 11, PuL, Presses universitaires de Louvain.
https://ojs.uclouvain.be/index.php/Mnemosyne/article/view/14123
-Jorge Luis Borges, “On William Beckford’s Vathek” [1943]
https://www.gwern.net/docs/borges/1943-borges-onwilliambeckfordsvathek.pdf
-William Cooper and John Robert Ross, 1975, “World order”, pp. 63–111, R. E. Grossman and al. (eds.), Papers from the parasession on functionalism, Chicago, Chicago Linguistic Society. -Gilles Deleuze, Félix Guattari 1975, Capitalisme et schizophrénie-L’AntiOedipe, v. I, Parigi, Éditions du Minuit.
-Michel Foucault 2004 [1967], Des espaces autres, 12-19, Érès “Empan” 2004/2, n. 54.
-Sigmund Freud, first published in 1930, Civilization and Its Discontents, translation by James Strachey, https://www.stephenhicks.org/wp-content/uploads/2015/10/FreudS-CIVILIZATION-AND-ITS-DISCONTENTS-text-final.pdf
-Martin Heidegger, 1972 [1927], Being and Time, translated by John Macquarrie and Edward Robinson, Oxford, Blackwell Publishers Ltd. -Tim Ingold 2007, Lines – A brief history, London-New York, Routledge.
https://taskscape.files.wordpress.com/2011/03/lines-a-brief-history.pdf
-Søren Kierkegaard, 2009 [1847], “The subjective truth, inwardness; truth is subjectivity,” p. 163, in Conclusive Unscientific Postscript to Philosophical Crumbs, edited and translated by Alistair Hannay, Cambridge University Press.
-Rosalind Krauss 1976, The Aesthetics of Narcissism, Cambridge. -Georges Lakoff, Mark Johnson, 2003 [1980], Metaphors We Live By, Chicago-London, The University of Chicago Press.
-Henri Lefèvre, 1974, La production de l’espace, Paris, Anthropos.
-Philippe Lejeune, Le pacte autobiographique, Paris, Seuil, 1975.
-Yuri M. Lotman, 1975 [1968], “Semiotica dello spazio culturale”, 143-248, “Il problema dello spazio artistico in Gogol”, 193-248, translated by Sergio Molinari, in J. M. Lotman and Boris A. Uspenskij, Tipologia della cultura, edited by Remo Faccani and Marzio Marzaduri, translated from the Russian into Italian by Manila Barbato Faccani, Remo Faccani, Marzio Marzaduri, Sergio Molinari, Milano, Bompiani. -, 2001 [1994], Non-Memorie, Silvia Burini and Alessandro Niero (edited and translated), introduction by Maria Corti, Novara, Interlinea. Original Russian text “Ne-memuary”, 1994, in Lotmanovskij sbornik, I-C-Garant, Moscow.
-Jean Piaget, “L’élaboration de la pensée”, pp. 129-165, in Ibid., La psychologie de l’intelligence, Paris, Colin, 1967.
-Edgar Allan Poe, «Marginalia part I», 1844-1849, United States Magazine and Democratic Review, November 1844. http://pinkmonkey.com/dl/library1/marg.pdf
-Tacitus, Annals, from Tacitus, Complete Works of Tacitus, Alfred John Church, William Jackson Brodribb, Sara Bryant, edited for Perseus, New York. Random House, Inc., reprinted 1942.
https://www.perseus.tufts.edu/hopper/text doc=Perseus%3Atext%3A1999.02.0078%3Abook%3D13%3Achapter%3D45
-Christine Van Assche 1992, Une histoire de vidéo, introduction to the catalogue of Musée d’Art moderne du Centre Pompidou, Vidéo et après, Paris, Éditions Carré.   Scientific Committee
Beatrice BARBALATO, Mediapolis.Europa  May CHEHAB, Université de Chypre
Fabio CISMONDI, Euro Fusion
Antonio CASTILLO GÓMEZ, Univ. d’Alcalà de Henares
Françoise HIRAUX, Univ. cath. de Louvain
Giulia PELILLO-HESTERMEYER, Universität Heidelberg
Anna TYLUSIŃSKA-KOWALSKA, Uniwersytet Warszawski
Organization
Irene MELICIANI, managing director Mediapolis.Europa   Symposium – Rome 2, 3, 4 November 2022Autobiography: a matter of geometry?Enrolments LANGUAGES ADMITTED FOR THE INTERVENTIONS: English, French, Italian, Spanish. Every speaker will speak in their chosen language; there will be no simultaneous translation. A rough passive understanding would be desirable.
A) The deadline for the submission of papers is 20 June 2022. Candidates are asked to present an abstract of up to 250 words, with citation of two reference texts, and a brief curriculum vitae of up to 100 words, with possible mention of two publications, be they articles or books. These must be submitted online on the conference registration page of the http://mediapoliseuropa.com/ Website.
The scientific committee will read and select every proposal that will be sent to the conference registration page of the http://mediapoliseuropa.com/ Website. For information, please contact the following: beatrice.barbalato@gmail.com,
irenemeliciani@gmail.com.
Notification of the accepted proposals will be given on 30 June 2022.   B) In regard to enrolment in the colloquium, once the proposal is accepted the fees are the following:
Before 30 July 2022: 110,00€
From 1 to 30 August 2022: 130,00€
Enrolment cannot be accepted in loco.
Ph.D. students:
Before 30 July 2022: 75,00€
From 1 to 30 August 2022: 90,00€
Enrolment cannot be accepted in loco.
Participation only 30,00 €   Virtual: All conference activities will be available through our webinar format. You will receive the conference link through the email address you provide in your registration.
A) For information on registration fees, past symposia, the association’s activities, and the organising and scientific teams, please refer to our website:  http://mediapoliseuropa.com/
The association Mediapolis.Europa contributes to the publication of the journal Mnemosyne, o la costruzione del senso, Presses universitaires de Louvain, www.i6doc.com.
Indexed as a scientific journal in: https://dbh.nsd.uib.no/publiseringskanaler/erihplus/periodical/info?id=488665

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Call for Contributors

Dictionary of Literary Biography, vol. 393 (Twenty-First Century Indigenous Fiction Writers in the United States and Canada), edited by Derek C. Maus (State University of New York at Potsdam, which sits on unceded Haudenosaunee territory)  

deadline for submissions: August 1, 2022

I am seeking scholars – a range that includes doctoral students through emeritus/emerita faculty – interested in contributing to a new volume in Gale’s Dictionary of Literary Biography series. Upon its contracted publication in the summer of 2023, this resource will fill a massive gap in the biographical and bibliographic coverage of contemporary Indigenous authors of fiction living and working within the settler nations of the United States and Canada. It has been nearly a quarter-century since volume 175 of this series covered “Native American Writers of the United States” (1997) and although a handful of major figures from the latter half of the twentieth century have been covered in other DLB volumes, no comprehensive volume dedicated to a broad overview of post-“Native American Renaissance” Indigenous writing has yet been produced as part of this important reference source. 

With the publication of When the Light of the World Was Subdued, Our Songs Came Through: A Norton Anthology of Native Nations Poetry (ed. Joy Harjo, Leanne Howe, et al.) in 2020, Indigenous poetry received a major boost in mainstream visibility. Although the intent of that volume and the Dictionary of Literary Biography is somewhat different, my hope is that this volume can shine a similarly bright light on a broad sampling of Indigenous authors who have published works of fiction since 1997, the last time DLB published a volume exclusively focused on Indigenous writers.  

I would especially like to use this volume to cover a number of emerging or otherwise lesser-known writers who have not received previous attention within this series. For this reason, the list of names for whom I am seeking bio-/bibliographic entries includes numerous authors whose published body of work to date includes only one or two book-length works, often ones that appeared in the last few years. It is absolutely essential to recognize and to recontextualize such eminent authors such as Sherman Alexie, Louise Erdrich, Linda Hogan, Thomas King, and Gerald Vizenor, all of whom have all continued publishing fiction since their inclusion in vol. 175. However, no adequate overview of the full diversity of fiction published by Indigenous authors in the past two decades exists and this volume is well-positioned to fill that gap. Therefore, I have included more names of authors than can ultimately be covered in the volume, but I have done so with the hope of casting as wide a net as possible. If there are other authors who you believe merit coverage, please do not hesitate in suggesting them to me as there are surely gaps in my own experience of contemporary Indigenous fiction. 

Alongside authors of fairly conventional “literary” fiction, I have also included some authors primarily known for “young adult” fiction as well as some whose work is primarily graphic fiction. I have also included a handful of figures (e.g., Tomson Highway) who are known far more for their work in other genres than fiction. The essays in this collection should focus only on their subject’s published works of fiction since 1997, though there obviously will be occasions for making reference to earlier works and/or works in other genres/media. 

In recognition of the added logistical and mental/emotional complications brought on by the upheaval in academic working conditions, completed essays for the collection are due as e-mail attachments by August 1, 2022. The word-counts (which include bibliographic data) included for each entry in the linked spreadsheet are fairly firm, though they can be exceeded in some exceptional instances if negotiated in advance. Gale compensates authors in this series for entries at a rate of $40 per 1000 words (as listed in the spreadsheet); thus, a 3000-word entry earns $120, a 5000-word entry earns $200, etc. I sincerely wish this could be more, but I am grateful that any resources are being set aside to make this project a reality, because it is long overdue. 

If you are interested in contributing to this project, please send me an email at mausdc@potsdam.edu and I will send you the current list of “unclaimed” authors. If you have the time, the inclination, and the mental energy to contribute to this project, I sincerely invite you to do so. I am happy to answer any additional questions about the book, the series, or any other aspect of the project via e-mail. Derek C. Maus, editor   contact email: mausdc@potsdam.edu